3OD  GRACIOUS 
NABELLE" 


SAMUEL  FRENCH,  28-30  West  38th  St.,  New  York 


cc 


Good  Gracious  'Aii 


A  ROMANTIC  FARCE  COMEDY 
IN  THREE  ACTS 


BY 

CLARE!  KUMMER 


COPYRIGHT,  1922,  BY  SAMUEL  FRENCH 


All  Rights  Reserved 

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Street,  New  York. 


NEW  YORK 
SAMUEL  FRENCH  - 

PUBLISHER 
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LONDON 

SAMUEL  FRENCH,  LTD. 

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STRAND 


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CAST 

JOHN  RAWSON — 

A  Western  Mine  Owner  of  Great  Wealth 
GEORGE  WIMBLEDON — 

Who  Has  Inherited  His  Father's  Millions 
HARRY  MURCHISON — 

Whose  Income  Is  Large  but  Uncertain 

WILLIAM  GOSLING A  Lawyer 

WILBUR  JENNINGS An  Indignant  English  Poet 

ALFRED  WEATHERBY — 

Whose  Father  Can  No  Longer  Pay  His  Bills 

JAMES  LUDGATE George  Wimbledon  s  Man 

WICKHAM A  House  Detective 

ALEC Page  Boy 

TITCOMB   , Clerk 

ANNABELLE  LEIGH — 

Who  Has  a  Husband  Somewhere 

ETHEL  DEANE An  Artist  in  Distress 

GWENDOLEN  MORLEY — 

A  Poor  Girl  at  the  Mercy  of  Her  Rich  Parents 
LOTTIE Under  Cook  at  Wimbledon's 

ACT      I.     Corridor  of   a    fashionable   New   York 

Hotel. 
ACT    II.     The    Servants'    Hall    at    Wimbledon's 

place,  Rock  Point,  Long  Island. 
ACT  III.    The  Lodge  Garden. 


**.  '.  '  Co»y-o£  UK' pliyvtfill  of  the  first  performance  of  "GOOD 
GRACrOlJS  •ANN'ABELLE"  at  the  Republic  Theatre, 
New  York,  October  31,  1916: 

MR.  ARTHUR  HOPKINS 

PRESENTS 

"GOOD    GRACIOUS    ANNABELLE" 
A   NEW    PLAY 

IN 
THREE    ACTS 

BY 

CLARE    RUMMER 
STAGED  BY  ARTHUR  HOPKINS 

CHARACTERS 
(In  the  order  of  their  appearance) 

JAMES  LUDGATE,  George  Wimbledon's  man — 

J.  Palmer  Collins 
WICKHAM,  house  detective  at  the  St.  Swithin — 

Harry  C.  Bradley 
WILBUR  JENNINGS,  an  indigent  English  poet — 

Roland   Young 

ETHEL  DEANE,  an  artist  in  distress Ruth  Harding 

ALFRED  WEATHERBY,  whose  father  can  no  longer  pay  his 

bills   _ Walter   Schellin 

GWENDOLEN  MORLEY,  a  poor  girl  at  the  mercy  of  her  rich 

parents Helen  Lee 

ALEC,  page  boy Mac   Macomber 

WILLIAM   GOSLING,  a  lawyer Edwin  Holland 

TITCOMB,  clerk  at  the  St.'  Swithin Willis  Reed 

GEORGE  WIMBLEDON,  who  owns  an  estate  on  Long  Island — 

Edwin  Nicander 
ANNABELLE  LEIGH,  who  has  a  husband  somewhere — 

Lola  Fisher 

JOHN  RAWSON,  a  Western  mine  owner  of  great  wealth — 

Walter  Hampden 

HARRY  MURCHISON,  whose  income  is  large  but  uncertain — 

Harry  Ingram 
LOTTIE,  under-cook  at  WIMBLEDON'S May  Vokes 

SYNOPSIS  OF  SCENES 

ACT      I.    Hotel  St.  Swithin,  New  York. 

ACT     II.     Servants'  Hall  at  Wimbledon's  Country  Place. 

ACT  III.    Lodge  Garden  at  Wimbledon's. 


"Good  Gracious  Annabelle" 


AT  RISE  :  JENNINGS  discovered  reading  newspaper 
on  seat  R.  WICKHAM  and  JAMES  enter  left 
corridor,  walking. 

(Opening  music,  "Somebody's  Eyes"  as  they  talk.) 

JAMES.  (L.C.)  Well,  Mr.  Wickham,  bein'  a 
house  detective  at  this  time  of  year  must  be  an 
easy  job. 

WICKHAM.  (L.  of  him)  It  gives  me  time  to 
study,  Mr.  Ludgate — and  with  all  these  modern 
theories  coming  up  a  detective  needs  study. 

JAMES.     Indeed ! 

WICKHAM.     Did  Mr.  Wimbledon  get  off? 

JAMES.     Oh,  yes — he  left  last  night. 

WICKHAM.  I'm  surprised  you  didn't  go  with 
him. 

JAMES.  I've  done  with  that.  Two  Japanese  val 
ets  can  take  care  of  him — and  I've  got  the  place  to 
look  after. 

WICKHAM.     I  see — it  must  be  a  wonderful  place. 

JAMES.  Well,  it  takes  care  of  forty  servants — I 
don't  include  myself. 

WICKHAM.  Of  course  not,  you  are  more  in  the 
capacity  of — friend. 

JAMES.  Not  at  all — I  merely  see  that  his  ideas 
are  carried  out — most  of  them  are  rotten. 


507461 


6        "GOOD  GRACIOUS  ANNABELLE" 

WICKHAM.  It  must  be  very  pleasant  when  he's 
not  there. 

JAMES.  Oh,  yes — we  have  our  own  billiard  room, 
dining-room  and  the  servants'  hall.  Why,  there 
ain't  a  handsomer  room  in  the  house — Mr.  Wick- 
ham.  WeVe  all  the  latest  magazines,  a  victrola  and 
a  baby  grand  piano — and  I  have  an  automobile  at 
my  disposal  for  necessary  errands. 

WICKHAM.  Will  he  be  away  the  entire  summer, 
Mr.  Ludgate? 

JAMES.  Oh,  yes,  and  I'm  glad  he's  gone.  The 
place  don't  seem  like  home  when  he's  there.  If  it's 
only  over  night  there's  a  disturbance. — This  time  he 
dismissed  four  servants.  Now  I've  got  four  good 
people  to  replace,  and  the  captain  of  the  Bluebell — 
I  was  very  sorry  to  see  him  go — a  fine  man  and  a 
liberal  entertainer. 

WICKHAM.  Why  has  he  gone?  (Has  reached  a 
spot  about  L.C.,  remains  here  until  exit.) 

JAMES.  (R.  of  him)  Mr.  Wimbledon  says  he 
ain't  honest.  The  weather  was  too  rough  for  a  sail 
when  he  was  down,  so  he  goes  aboard  and  decides 
to  count  the  linen — goes  a-rummaging  over  the  table 
cloths  and  napkins. — Now  you  know,  Mr.  Wick- 
ham,  that  ain't  manly. 

WICKHAM.  It's  a  great  mistake  to  accuse  any 
one  of  being  dishonest.  It's  so  easy  to  detect  a 
thief — why,  there's  no  question  about  that  with  mod 
ern  methods. — I  can  tell  in  a  few  minutes'  conver 
sation  if  a  man  is  a  thief 

JAMES.     (Nervously)    You  don't  say! 

WICKHAM.  Oh,  yes — Supposing  you  pick  up  an 
umbrella. 

JAMES.  Oh,  Mr.  Wickham,  please — I  can't  sup 
pose  anything  of  the  kind.  The  idea  of  picking  up 
an  umbrella  is  offensive  to  me. 

STOP  MUSIC 


"GOOD  GRACIOUS  ANNABELLE"        7 

WICKHAM.  (Stop  music)  Well — take  some 
thing  more  valuable. — Suppose  you  enter  a  bank 
and  pick  up  a  bill  that  a  lady  drops  after  cashing  a 
cheque — I  step  up  to  you  and  give  you  the  words 
"Horticultural,  platitudinous,  submersible,  William." 

JAMES.     William,  William  who 

WICKHAM.  There,  you  see,  you  picked  the  very 
word,  William  Bill.  It's  all  in  the  association  of 
ideas,  Mr.  Ludgate. 

(Enter  ETHEL  R.IV  crosses  to  JENNINGS.     WICK 
HAM  and  JAMES  stroll  off  L.iJ 

ETHEL.  Am  I  late?  Are  we  having  lunch  here, 
Wilbur?  (Sits  L.  of  JENNINGS.J 

JENNINGS.     Well — are  we? 

ETHEL.     Did  you  sell  your  verses  to  Binder? 

JENNINGS.  No — he  seemed  to  think  they  were 
indecent  and  when  I  explained  to  him  that  they 
weren't,  he  lost  interest  in  them — so  that's  off. 

ETHEL.  Oh,  dear — why  did  you  have  to  ex 
plain 

JENNINGS.     How  about  the  picture — all  right? 

ETHEL.  Here,  let  me  read  it.  Mrs.  Silliman's 
morning  swat — (Takes  note  and  reads) — "I  am  re 
turning  the  portrait  of  my  husband — I  would  not 
have  such  a  looking  thing  in  the  house " 

JENNINGS.    But  she  has  him  in  the  house. 

ETHEL.  ( Puts  note-book  back  in  bag)  So  there's 
five  hundred  dollars  gone  to  the  dogs 

JENNINGS.  Well — what  do  you  say  to  going 
around  to  the  bakery?  They  really  have  very  good 
noodle  soup 

ETHEL.  Wilbur — I  consider  myself  the  greatest 
artist  in  New  York  City. — You  are  the  greatest  poet. 
— Why  should  we  have  to  eat  in  a  bakery  ? 

JENNINGS.  Well,  artists  and  poets  always  have — 
it's  become  a  sort  of  tradition. 


8        "GQOD   GRACIOUS   ANNABELLE" 

ETHEL.  Well — I  won't  do  it,  as  long-  as  one  does 
those  things  one  has  to. — We  should  avoid  poor 
people. 

JENNINGS.  You  mean  we  should  avoid  each 
other  ? 

ETHEL.  Of  course  not — but,  really,  Wilbur,  it 
does  seem  as  if  poverty  almost  rubs  off. 

JENNINGS.  Come  on — you're  hungry — that's  all's 
the  matter 

ETHEL.  No — we'll  have  to  wait  for  Gwen  Mor- 
ley — I  told  her  I'd  meet  her  here 

JENNINGS.     Is  she  coming  for  lunch? 

ETHEL.     I  don't  know  what  she's  coming  for. 

JENNINGS.  (Rising)  Oh,  well — it's  all  right. 
fx.R.j  I'll  just  leave  my  watch  with  the  clerk. 
(Pulls  out  chain  from  which  watch  is  missing)  Oh 
— I  forgot. 

ETHEL.  (With  sarcasm)  Your  watch  is  being 
cleaned  again — so  soon? 

JENNINGS.     (Meekly.    Sits  again)    Yes. 

ETHEL.  If  Alfred  is  with  Gwen,  maybe  they'll 
have  us  to  lunch — Alfred  always  has  money. 

JENNINGS.  Somebody's  money — well — let's  hope 
he's  with  her. 

ETHEL.  (Both  rise)  He  is — there  they  are. 
Hello,  people 

fGwEN  and  ALFRED  enter  L.I.,  crossing  R.     ALEC 
enters  L.i.J 

ALFRED.  Well — how's  the  world  treating  you, 
Eth? 

ETHEL.  It  never  has,  Alfred (Sits  L.  of 

c.  bench.) 

ALEC.  (Interrupting^  Beg  pardon,  sir,  but  the 
cab  man  wants  to  know  if  he's  to  wait 

ALFRED.     (-L.C.)     Yes — I  guess  he'll  have  to 

GWEN.     But  if  he  waits,  it'll  be  more (GwEN 


"GOOD  GRACIOUS  ANNABELLE"        9 

has  found  a  seat  to  R.  of  ETHEL.  JENNINGS  sits  up 
R.  bench.) 

ALFRED.  (To  JENNINGS,)  Jennings,  old  man — 
lend  me  a  dollar,  will  you  ? 

JENNINGS.  (He  has  seated  himself  in  wicker 

bench  down  R.j  Why,  certainly (Pulling  out 

change)  There's  just  a  dollar  there — you  needn't 
count  it. 

ALFRED.  (After  hesitating  a  moment)  Thanks. 
(Gives  money  to  ALEC,  who  exits  L.iJ 

GWEN.  (To  ETHELJ  I'm  going  to  ask  you 
something,  Eth.  If  you've  sold  your  picture,  I  want 
you  to  lend  me  a  hundred  dollars. 

ETHEL.  My  dear  girl — I  would  gladly  let  you 
have  it,  but  I  was  just  telling  Wilbur — Mrs.  Silli- 
man  had  refused  the  picture. 

GWEN.  What?  Ethel — after  you've  worked  six 
months  on  it.  Alfred,  Mrs.  Silliman  has  refused 
Ethel's  picture  of  Mr.  Silliman. 

ALFRED.     Have  her  arrested. 

ETHEL.  When  I  think  of  the  hours  I  spent  paint 
ing  his  nose. 

ALFRED.  Yes — but  think  of  the  years  he  spent 
painting  it. 

GWEN.  I  wouldn't  have  asked  you,  Ethel,  but 
father  has  cut  off  my  allowance. 

ETHEL.     Gwen !    Why  ? 

GWEN.     On  Alfred's  account. 

ETHEL.     Why,  Alfred's  all  right,  isn't  he? 

ALFRED.  Haven't  you  heard?  The  old  man's 
gone  up. 

ETHEL.     Your  father? 

GWEN.  Just  as  Alfred  was  going  into  business 
with  him. 

ETHEL.  Wilbur!  Do  you  hear  that?  Mr. 
Weatherby's  ruined. 

JENNINGS.  (Speaks  this  line  to  ALFRED  J  Is  he 
coming  to  lunch  ? 


io      "GOOD   GRACIOUS  ANNABELLE" 

JAMES.  (Enter  L.I.  To  WICKHAM.  Same  bus., 
walking  as  they  talk)  Sixty  rooms  altogether — 
twelve  master's  baths  and  a  swimming  pool. — It  is 
the  duty  of  one  man  to  keep  the  tables  in  the  Japa 
nese  billiard  room  polished.  (They  all  look  at  JAMES 
and  WICKHAM  mournfully.) 

ALFRED.  Disgusting,  isn't  it,  that  one  man  should 
have  all  that? 

JENNINGS.     When  you're  not  the  man. 

JAMES.  (His  voice  rising,  crossing  over  slowly 
with  WICKHAMJ  Believe  me — what  those  chickens 
and  ducks  has  to  eat  would  satisfy  an  epicure — and 
they  taste  accordingly. — Fresh  fruits  and  vegetables 
from  the  garden  we  have  in  season — and  in  Sep 
tember — Black  Hamburg  grapes  rotting  in  the  green 
houses.  (Strolling  off  R.I.  All  eye  them  as  they 
pass.) 

ALFRED.  (Sighs)  I  wish  I  had  a  rotten  black 
Hamburg  grape  right  now. 

JENNINGS.  I  think  we're  all  hungry — that's 
what's  the  matter.  There's  a  bakery  round  the 
corner  where  they  have  very  good  noodle  soup 

JAMES.  (His  voice  rising.  Enter  R.I.,  strolling 
up  R.  corridor  with  WICKHAM^  And  his  clothes — 
there'll  be  fifty  morning  coats — a  dozen  tweed  hunt 
ing  suits — hundreds  of  trousers,  thousands  of  shoes. 

ETHEL.     Who  is  this  overdressed  gentleman? 

ALFRED.  Would  he  like  to  have  me  exercise  some 
of  those  clothes  for  him? 

("ALEC  enters  L.i.J 

ETHEL.  I'm  going  to  ask  who  they  are (To 

ALECJ  Could  you  tell  me  who  those  gentlemen  talk 
ing  are?  It  seems  to  me  I  know  one  of  them. 

ALEC,  (c.)  Certainly,  Madame.  The  red-faced 
one  is  Mr.  Wimbledon's  butler. 

ETHEL.     I  meant  the  other  one 


"GOOD  GRACIOUS  ANNABELLE"       n 

ALEC.     He's  our  house-detective. 
ETHEL.     (Shocked)     How  awful. — It's  not  the 
person  I  thought  at  all. 

(ALEC  exits  L.  upper.) 

ALFRED.  (Pinter  GOSLING  L.I)  Say,  there's  a 
man  I  can  touch  for  a  lunch (All  watch  eag 
erly.) 

JENNINGS.     Who  is  it? 

ALFRED.  Gosling  the  lawyer — he's  taken  enough 
away  from  my  father  to  make  him  rich.  (Crosses 
to  GOSLING  L.cJ  Good  morning,  sir. 

GOSLING.     (L.)     Good  morning,  Alfred. 

ALFRED.     Waiting  for  someone? 

GOSLING.  I  have  an  appointment  with  Mrs.  Leigh 
and  naturally  I  am  waiting. 

ALFRED.  Annabelle?  You  don't  mean  to  say 
she's  back? 

GOSLING.     Where's  she  been? 

ALFRED.     To  the  Fair — didn't  she  tell  you? 

GOSLING.  No — she  never  tells  me  anything. 
She  causes  me  more  trouble  than  all  my  other  clients 
put  together. 

ALFRED.  Well — why  have  any  other  clients?  I 
wouldn't. 

GOSLING.  Tut,  tut.  I  tell  you  the  reports  of  her 
wealth  are  greatly  exaggerated. 

ALFRED.  Is  that  so?  Well,  tell  me,  Mr.  Gos 
ling — are  the  reports  of  your  wealth  exaggerated, 
too? 

GOSLING.  They  are — if  there  are  any  such  re 
ports. — Why,  my  boy — if  you  were  to  ask  me  now 
to  lend  you  ten  dollars — I  couldn't  do  it.  (Bus.  all.) 

ALFRED.     Could  you  lend  me  five? 

GOSLING.  You  make  me  laugh — always  joking. 
Just  like  your  father.  (Exits  L.  All  sigh.) 


13      "GOOD  GRACIOUS  ANNABELLE" 

ALFRED.  (To  c.)  Who  do  you  think  he  is  wait 
ing  for?  Annabelle. 

ETHEL.     Annabelle ! 

GWENDOLEN.     Oh,  then  she's  back! 

ALFRED.  Why  worry  about  lunch?  She'll  have 
us  all.  Let's  order  the  cocktails.  (They  go  up  stage 
R.  corridor,  talking  together.  Exit  into  Palm  room 
at  back.) 

JAMES.  (Enter  JAMES  and  WICKHAM  L.I.,  reach 
to  c.  and  stop)  Oh,  yes — he'll  have  as  many  as  a 
hundred  down  there.  They've  their  own  idea  of 
amusing  themselves.  They'll  fish  in  the  fountain 
for  their  own  dinner — pull  out  a  goldfish,  and  when 
it's  served  as  mackerel  they  don't  know  the  differ 
ence.  And  Mr.  Wimbledon  a-lording  it  over  every 
body — they  flatter  him,  you  know,  but  I  ain't  afraid 
to  tell  him  what  I  think  of  him — I  ain't  any  more 
afraid  of  him  than  I  am  of  you,  Mr.  Wickham. 
(Scornfully.) 

(Enter  TITCOMB  L.I.,  speaking  to  ALEC,  who  is  off 
stage  L.I. ) 

TITCOMB.  Alec,  tell  the  porter  Mr.  Wimbledon's 
luggage's  down,  will  you  ? 

ALEC.     (Off  L.I J    Yes,  sir. 

JAMES,  (c.  TITCOMB  goes  to  JAMES.  To  TIT- 
COMBJ  Did  you  say  Mr.  Wimbledon's  luggage? 

(Exit  WICKHAM  L.I.  via  across  back.) 

TITCOMB.    Yes. 

JAMES.     But  Mr.  Wimbledon's  left 

(About  here  WIMBLEDON  comes  strolling  on  down 
R.  corridor.) 

TITCOMB.     Oh,   no!     He  left  a  call   for  seven 


"GOOD  GRACIOUS  ANNABELLE"       13 

o'clock  this  morning1,  but  he's  been  making  it  an 
hour  later  ever  since. 

JAMES.     But  then  he's  missed  his  train. 

WIMBLEDON.  (Intoxicated  but  elegant — standing 
just  behind  him)  James ! 

JAMES,  (c.)  Oh,  Mr.  Wimbledon,  sir,  did  you 
miss  your  train,  sir? 

WIMBLEDON.  Who  cares  for  a  date  with  a  loco 
motive?  (Giving  bill  to  JAMES)  I  want  you  to  give 
this  bill  to  the  girl  who's  been  waking  me  up.  She's 
got  the  sweetest  voice.  I  never  heard  anything  like 
the  way  she  says  "Seven  o'clock !"  Did  she  ever 
say  it  to  you,  Titcomb  ? 

TITCOMB.     (Smiling)    Well,  no,  sir! 

JAMES.     But  where  are  Ogashi  and  Gasuki,  sir? 

WIMBLEDON.  (Laughs)  I  guess  they're  in  Buf 
falo  by  now.  They  insisted  on  taking  the  train,  so 
I  let  them  take  it.  I  can't  be  taking  trains  all  night 
just  because  a  couple  of  valets  want  me  to. 

JAMES.  But  you've  not  forgotten  you're  going 
West,  sir?  You  were  to  have  left  last  night,  sir. 

WIMBLEDON.  Yes,  but  I  remembered  that  I  had 
forgotten  something.  What  was  it? 

JAMES.     I  couldn't  tell  you,  sir. 

WIMBLEDON.     Well,  you've  got  to  tell  me. 

JAMES.  I  don't  know,  sir,  what  it  was — but  your 
next  train  leaves  the  Grand  Central  at  two  forty- 
five. 

WIMBLEDON.  I  had  to  do  something — and  before 
I  did  that  I  had  to  do  something  else 

JAMES.     I  think  we'll  have  to  hurry,  sir 

WIMBLEDON.  You  know  how  much  I  care  what 
you  think,  don't  you? 

JAMES.     Yes,  sir. 

WIMBLEDON.  What  was  the  last  thing  I  said 
before  I  left  the  house? 

JAMES.     I  wouldn't  like  to  repeat  it,  sir. 

WIMBLEDON.     Can't  you  think? 


14      "GOOD   GRACIOUS   ANNABELLE" 

JAMES.  Would  Mr.  Spalding  know  anything, 
sir? 

WIMBLEDON.  He  never  did.  Get  Spalding  on 
the  'phone. 

(Exit  JAMES  L.     TITCOMB  approaches  WIMBLEDON 
with  an  envelope  with  two  stock  certificates.) 

TITCOMB.  (C.L.)  Mr.  Wimbledon,  a  messenger 
boy  brought  this  for  you  last  night. 

WIMBLEDON.  (C.R.)  Why  didn't  you  give  it  to 
me? 

TITCOMB.  (Good-naturedly)  Why,  I  did,  sir, 
but  it  came  back  to  the  office.  You  left  it  on  the 
bar. 

WIMBLEDON.     I  guess  that's  all  I  left  there. 

TITCOMB.  The  boy  said  it  was  important,  so  I 
thought  Td  keep  it  for  you  until  this  morning. 

WIMBLEDON.  (Examining  contents  of  envelope) 
Important,  important!  I  should  say  it  was  impor 
tant.  Do  you  remember  my  father,  Titcomb? 

TITCOMB.  Yes,  sir.  Oh,  yes,  I  remember  old 
Mr.  Wimbledon  very  well.  The  last  time  he  was  in 
here,  he  says  to  me — "Titcomb " 

WIMBLEDON.  (Interrupting)  Would  you  say 
that  I  was  a  bigger  man  than  my  father? 

TITCOMB.  Oh,  no,  sir.  Your  father  must  have 
Weighed  two  hundred  pounds. 

WIMBLEDON.  (Proudly)  I'm  a  bigger  man  than 
my  father. 

TITCOMB.     (Smiling)     Oh,  no,  sir. 

WIMBLEDON.  (Impressively)  Oh,  yes.  Poor 
little  father  tried  all  his  life  to  get  what  I've  got 
this  minute.  (Lurching  a  little.  TITCOMB  coughs 
to  conceal  a  smile)  I  don't  mean  this  beautiful, 
exquisite,  expensive  condition  I'm  in — I  mean  what 
is  in  this  envelope.  Two  shares  of  the  greatest 
stock  in  the  world,  Titcomb.  Will  give  me  control 


"GOOD  GRACIOUS  ANNABELLE"       15 

of  property  worth  millions.  Some  idiot  borrowed 
seven  hundred  dollars  on  it  and  forgot  to  pay  up. 
That's  all  it  cost  me.  Good  business, — eh?  (Puts 
bonds  in  pocket.) 

TITCOMB.  (Impressed)  Very  good,  I  should 
say,  sir. 

WIMBLEDON.  They  think  all  I  do  is  to  spend 
money.  But  I'm  making  it  all  the  time — just  as 
though  I  needed  it.  That's  the  secret  of  success, 
Titcomb. 

TITCOMB.     Yes,  sir. 

WIMBLEDON.  Success,  is  the  greatest  thing  in  the 
world — I'll  tell  you  why.  Without  it,  a  man  is  a 
failure,  and  I  don't  know  anything  worse  than  a 
failure — do  you? 

TITCOMB.  No,  sir.  (At  sound  of  JAMES'S  voice 
exits  L.i.J 

JAMES.  (Enter  JAMES  L.I.)  I  couldn't  get  Mr. 
Spalding,  sir.  He'll  be  back  later. 

WIMBLEDON.  (Smiles)  Never  mind.  I've  got 
it  in  my  pocket. 

JAMES.     What,  sir? 

WIMBLEDON.     The  stock  from  Spalding. 

JAMES.     I  must  get  you  another  train. 

WIMBLEDON.  Yes,  get  me  an  assortment  of 
trains. 

JAMES.     Is  your  car  outside,  sir? 

WIMBLEDON.  Well,  I  don't  see  it  in  here  any 
where. 

JAMES.  I  didn't  see  it  waiting.  But  my  car  is 
here,  sir.  I  drove  in  this  morning.  I  thought  if  I 
was  successful  in  finding  servants  at  the  bureaus,  I 
could  take  them  out  with  me. 

WIMBLEDON.  Oh,  yes — don't  ever  let  me  see 
Seraphina  again — or  that  fishy  parlor  maid. 

JAMES.     They  went,  sir,  this  morning. 

WIMBLEDON.     And      that      chauffeur      Ronald. 


16      "GOOD  GRACIOUS  ANNABELLE" 

Never  engage  anyone  again  by  the  name  of  Ronald. 

JAMES.    Very  good,  sir. 

WIMBLEDON.  And  the  gardener — that's  four- 
there  was  one  more. 

JAMES.     The  Captain  of  the  Bluebell,  sir. 

WIMBLEDON.  Yes,  when  you  get  him,  ask  him  if 
he  knows  how  to  crochet.  If  he  does  I  don't  want 
him — I  don't  want  him — and  don't  get  a  gardener 
that  looks  like  Bernard  Shaw.  (Starting  to  exit  L.iJ 

JAMES,  (c.)  Very  good,  sir — the  car  is  out 
there,  sir.  (Points  Rj 

WIMBLEDON.  But  the  bar  is  out  here (Ex 
its  jauntily  L.  JAMES  exits  L.J 

ANNABELLE.  (Entering  R.I.,  sits  bench  c.  Slight 
pause — she  looks  RV  then  C.L.  Enter  TITCOMB  L.I., 
looking  off  at  WIMBLEDONJ  Pardon  me! 

TITCOMB.     Yes,  madam.     (Goes  to  ANNABELLE.J 

ANNABELLE.  (Rises)  Have  you  seen  an  elderly 
gentleman  about  here  who  seemed  to  be  looking  for 
someone  ? 

TITCOMB.  Why — er — there  have  been  several, 
but  they're  gone. 

ANNABELLE.     I  wonder  if  mine  was  among  them? 

TITCOMB.  Well,  I  couldn't  say,  madam,  really. 
(Goes  L.cJ 

(Enter  ETHEL,  followed  by  ALFRED,  GWENDOLEN 
and  JENNINGS  from  Palm  room  R.  up  R.) 

ANNABELLE.  I'm  so  late ;  it  seems  as  though  he 
ought  to  be  here, 

ETHEL.  (TITCOMB  exits  L.)  It  is,  it  is.  (They 
happily  surround  ANNABELLE.) 

ALFRED.     How  are  you,  darling? 

GWENDOLEN.     (Embracing  her)     Oh,  dearest! 

ANNABELLE.  Well,  here  all  you  sweet  people  are 
— and  I  thought  I  was  only  going  to  meet  a  stuffy 


"GOOD  GRACIOUS  ANNABELLE"      17 

old  lawyer!  ( ANNABELLE  kisses  ETHEL,  hugs 
GWENDOLEN.,) 

JENNINGS.  You  don't  remember  me — Mr.  Jen 
nings  ? 

ANNABELLE.  Mr.  Jennings?  Oh — Mr.  Jen 
nings.  Of  course,  the  poet!  (Goes  to  him.  They 
shake  hands.) 

JENNINGS.  It's  awfully  kind  of  you  to  remem 
ber. 

ANNABELLE.  Who  could  forget?  We  sat  out  a 
dance  in  Mrs.  Silliman's  conservatory  last  winter — 
and  you  recited  some  of  your  poems  to  me — they 
were  beautiful,  so  long,  I  don't  see  how  you  ever 
remembered  them.  Now,  children,  listen!  You 
must  all  have  luncheon  with  me.  (Bus.  Xing  L.  and 
looking  L.I.)  But  first  I  have  to  see  old  Mr.  Gos 
ling — and  tell  him  how  late  I  am  for  my  appoint 
ment — and  tell  him — several  things. 

ALFERD.  Listen,  darling — he's  gone,  but  he'll  be 
right  back,  if  you  really  want  to  see  him. 

ANNABELLE.  I  really  must  see  him.  But  you 
can  all  disappear  into  the  Palm  room  and  order  a 
beautiful  cup  with  champagne  and  apricots  and 
everything  very  juicy  and  cold — and  beautiful  flow 
ers — with  ferns  to  make  us  think  we're  in  the  woods 
— and  beautiful  clams,  to  make  us  think  we're  at 
the  seashore. 

ETHEL.  Do  let  Wilbur  arrange  the  flowers,  Anna- 
belle — he's  wonderful  with  flowers. 

ANNABELLE.  Wilbur  shall  do  that.  (To  JEN 
NINGS,)  Tell  the  florist  they're  for  me  and  that  it's 
all  right.  (To  ALFRED,)  And  I  think  I'd  better 
see  Mr.  Gosling  alone (Sits  on  seat  c.  JEN 
NINGS  exits  into  florists',  R.I.,  the  rest  into  the  Palm 
room  R.  up.) 

GOSLING.  (Enter  L.  Seeing  ANNABELLE,  goes  to 
her)  Ah — here  you  are. 

ANNABELLE.     Hello,  Mr.  Gosling. 


i8      "GOOD  GRACIOUS  ANNABELLE" 

GOSLING.  You  were  late  as  usual.  Well,  what's 
the  trouble  ? 

ANNABELLE.  (Lightly)  There  isn't  any.  I  want 
some  money. 

GOSLING.     Oh,  that's  it 

ANNABELLE.     Of  course,  it's  always  it,  isn't  it? 

GOSLING.  Well,  my  dear  Annabelle — you've  al 
ready  had  your  allowance  for  this  quarter. 

ANNABELLE.  And  I've  already  spent  it.  I've 
been  to  the  Fair  and  brought  most  of  it  back  with 
me. 

GOSLING.  You  should  have  let  me  know  where 
you  were.  I  wanted  to  see  you  about  something  im 
portant.  The  Butte  Bank  and  Security  Company 
sent  for  the  two  shares  of  stock  that  you  hold. 

ANNABELLE.  Did  they?  But  Mr.  Gosling — you 
know  I  wasn't  to  give  that  stock  up  to  anyone — 
except  my  husband. 

GOSLING.  Well — he  sent  for  it  through  the  Bank. 
But  my  idea  is  not  to  let  him  have  it — I  want  you 
to  let  me  take  it — and  make  a  lot  of  money  for 
you 

ANNABELLE.  Well,  I  couldn't  let  you  have  it  just 
now,  anyway 

GOSLING.     Why  not? 

ANNABELLE.     Well,  you  see,  I  let  someone  take  it. 

GOSLING.     What ! 

ANNABELLE.  Just  temporarily — and  borrow 
seven  hundred  dollars  for  me. 

GOSLING.     What — you've  hypothecated  it  ? 

ANNABELLE.  (Rising  indignantly)  Mr.  Gos 
ling! 

GOSLING.     Do  you  know  what  the  word  means? 

ANNABELLE.  (Sitting)  No — the  sound  is 
enough. 

GOSLING.     Who  did  you  give  it  to? 

ANNABELLE.  I  gave  it  to  a  man  I  met  through 
the  Sillimans.  He's  a  very  well  known  banker — 


"GOOD  GRACIOUS  ANNABELLE"      19 

with  light  whiskers.  You'd  know  him  if  I  could 
think  of  his  name. 

GOSLING.  What!  You  gave  it  to  someone  you 
don't  even  know? 

ANNABELLE.  (Looking  in  box)  Of  course  ^  I 
know  him.  He's  in  here  somewhere.  Here  he  is. 
(Taking  out  card.) 

GOSLING.  Lemuel  Spalding — the  broker.  He 
must — have  bought  it — for  someone — I'll  phone 
him. 

ANNABELLE.  Mr.  Gosling — I  won't  do  anything 
with  that  stock  that  my  husband  would  not  approve 
of. 

GOSLING.  Do  you  think  he  would  approve  of 
what  you  have  done  ? 

ANNABELLE.  Of  course — he'll  never  know  it. 
But  why  all  this  fuss  over  two  little  foolish  shares 
of  stock? 

GOSLING.  Two  little  foolish  shares  of  stock  some 
times  mean  millions,  my  dear.  Sometimes  they 
mean  the  control  of  the  property. 

ANNABELLE.  Well,  I  don't  think  mine  mean  any 
thing  like  that — they  were  just  given  to  me,  so  that 
my  husband  would  always  know  where  I  was — 
and  be  able  to  avoid  the  place. 

GOSLING.  But  that  was  seven  years  ago — the 
whole  situation  has  changed  since  then. 

ANNABELLE.  Well,  I  couldn't  let  you  have  it, 
anyway — after  all,  I  receive  my  income  from  the 
man  who  sent  for  it 

GOSLING.  And  Annabelle,  I  must  tell  you,  that 
your  receiving  your  income  from  him  is  to  me  a 
very  terrible  thing. 

ANNABELLE.  Yes,  but  not  receiving  it  would  be 
worse. 

GOSLING.  I  know  nothing  of  him.  Your  money 
reaches  me  through  his  agents — that's  his  wish — 


20      "GOOD  GRACIOUS  ANNABELLE" 

but  I  feel  I  should  warn  you You  think  your 

allowance  will  go  on  forever? 

ANNABELLE.  I  don't — I  can't  make  it  go  on 
through  the  month. 

GOSLING.  Annabelle — don't  you  know  that  you 
need  a  protector? 

ANNABELLE.  No,  I  only  know  that  I  need  five 
hundred  dollars,  and  then  two  hundred  and  fifty 
more,  and  the  seven  hundred  for  the  stock,  of 
course 

GOSLING.     Anything  else? 

ANNABELLE.  Yes — I'd  like  to  pay  the  fruit  man. 
For  I  wouldn't  accept  such  quantities  of  Japanese 
plums  from  anyone  unless  there  was  something  se 
rious  between  us — and  I've  never  even  seen  the 
fruit  man. 

GOSLING.  Well,  all  I  can  say  is  that  unless  you 
will  let  me  handle  your  business  in  my  own  way — I 
cannot  let  you  have  one  cent  until  your  allowance 
is  due. 

ANNABELLE.     (Rises)     That's  three  months. 

GOSLING.  Yes.  Now  when  can  I  have  a  long 
talk  with  you? 

ANNABELLE.  In  three  months.  ^GWENDOLEN 
nnd  ETHEL  enter  up  R.  from  Palm  room — come 
down  R.  ANNABELLE  is  attracted  by  their  entrance) 
Oh,  Mr.  Gosling — a  happy  thought !  Wouldn't  you 
like  to  give  a  little  lunch  party  for  me  ?  You  know 
Miss  Morley — and  Ethel  Deane — the  great  artist 
whose  portrait  of  a  pineapple  made  such  a  sensa 
tion  in  the  Spring  Exhibition? 

GOSLING.  No,  you  must  excuse  me — I  must  get 
Spaulding  if  I  can — Friday,  he's  probably  out  of 
town.  (Exit  GOSLING  L.) 

ANNABELLE.  Everybody's  out  of  town.  I've 
telephoned  to  them  and  I  know.  (Crosses  R.  to 
girls)  I  don't  understand  why  you  darlings  are 
here. 


"GOOD  GRACIOUS  ANNABELLE"      21 

(Enter  WICKHAM  L.I.,  listens  to  conversation  which 
follows  without  making  it  apparent  to  them.) 

GWENDOLEN.  My  dear,  fearful  ructions  with 
father.  If  you  hadn't  come  I  don't  know  what  I 
should  have  done.  Can  I  stay  with  you  for  a  little 
while,  Annabelle? 

ANNABELLE.     I  should  say  you  could. 

GWENDOLEN.     Where  are  you  going  to  be,  dear? 

ANNABELLE.  I  don't  know.  When  I  got  to  the 
Hathmore — you  know  I've  stopped  there  for  years — 
I  found  that  they  had  rented  my  rooms.  It  seems 
that  the  check  I  sent  from  the  Fair  was  protested. 

fWiCKHAM  L.,  glares  quickly  over  shoulder  at  them, 
at  word  protested.) 

ETHEL.     Annabelle ! 

ANNABELLE.     Banks  are  so  irritable  at  times. 

ETHEL.  But  dear,  if  a  check  is  protested  that 
means  you  haven't  any  more  money  in  the  bank. 

ANNABELLE.  That's  ridiculous.  I've  put  far 
more  in  than  I've  ever  taken  out. 

ETHEL.  But  don't  you  keep  your  account  checked 
up? 

ANNABELLE.  No,  it  doesn't  make  it  any  more 
to  do  that.  I  just  have  a  general  idea  about  it. 

ETHEL.     Oh,  Annabelle! 

fWiCKHAM  strolls  up  L.  corridor  and  remains  lis 
tening.) 

ANNABELLE.  So  what  I  was  going  to  say  was, 
they  haven't  another  suite  in  the  Hathmore  and  I 
shall  have  to  move.  ...  I  rather  like  it  here — 
don't  you  ? 

ETHEL.     Yes,  but  it's  awfully  expensive. 

ANNABELLE.     Well,   I   really   like  to   pay   hotel 


22      "GOOD  GRACIOUS  ANNABELLE" 

bills.  They're  always  so  pleased  when  you  do. 
Yes — I  shall  ask  about  rooms  here — (TixcoMB  en 
ters  L.) — and  I  may  as  well  do  it  now.  (Turns  to 
TiTcoMBj  Where  can  I  find  out  about  rooms? 

TITCOMB.     Why,  I  can  tell  you. 

ANNABELLE.  Have  you  a  suite,  with  plenty  of 
air,  facing  some  way  that  you  just  get  the  sun  when 
you  want  it  ? 

TITCOMB.  I  think  so.  How  many  rooms  did  you 
want? 

ANNABELLE.  Well,  a  parlor,  two  bedrooms  and 
bath  would  do,  and  I  like  a  private  hall,  don't  you? 
For  wet  umbrellas.  (To  ETHEL. ) 

TITCOMB.  Very  well,  Madam — I'll  see  what  we 
can  do.  What  is  the  name  ? 

ANNABELLE.  Annabelle  Leigh — Mrs.  Leigh. 
(Goes  to  girls)  Thank  goodness,  that's  settled.  A 
nice  house  for  Gwennie  and  me. 

('ALL  start  for  Palm  room  up  R.    As  TITCOMB  goes, 
WICKHAM  stops  him.) 

WICKHAM.  Before  you  give  her  the  rooms,  call 
up  the  Hathmore  and  find  out  about  her. 

(Exit  TITCOMB,  followed  by  WICKHAM  L.I.  JEN 
NINGS  enters  R.I.  nervously,  stops  ANNABELLE 
R.,  who  is  last.) 

JENNINGS.  Mrs.  Leigh — I'm  so  sorry,  it's  hor 
rible,  perfectly  ridiculous. 

ANNABELLE.  (L.  of  him)  I  think  so,  too,  what 
is  it? 

JENNINGS.  The  man  says  he  must  have  the 
money  for  the  flowers  now. 

ANNABELLE.  Now?  I  never  heard  of  such  a 
thing.  He  should  be  glad  to  get  it  then. 


"GOOD  GRACIOUS  ANNABELLE"      23 

JENNINGS.  He  says  they  never  charge  things  to 
people  who  just  come  in  from  the  street. 

ANNABELLE.  Where  does  he  expect  them  to 
come  from? 

JENNINGS.     I'm  so  sorry 

ANNABELLE.  Well,  don't  be  sorry.  Tell  him 
you've  seen  about  it  and  it's  all  right.  And  to  have 
gardenias  at  each  gentleman's  place  and  white  or 
chids  for  the  ladies. 

JENNINGS.  (Nervously)  Do  you  think  that 
will 

ANNABELLE.  I  know  it  will — try  it.  ("JENNINGS 
starts  off  R.I.  ANNABELLE  is  thoughtful)  But  it 
might  not.  Mr.  Jennings,  just  a  moment.  (She 
slips  ring  off  her  finger.  JENNINGS  comes  back) 
Do  you  know  anything  about  getting  money  on 
things  ? 

JENNINGS.  WTell,  I  haven't  been  a  shining  suc 
cess  at  it  myself. 

ANNABELLE.     (Showing  him  the  ring)     I  mean 

on  things  like  this 

READY  MUSIC  R.U. 

JENNINGS.     Oh,  you  mean 

ANNABELLE.  Yes,  that's  what  I  mean — I  under 
stand  there  are  people  who  do  it — this  friend  of 
mine  is  very  timid  and  she  doesn't  like  to  do  it 
herself — in  fact,  she  doesn't  know  how — or  even 
where  they  are — so  I  told  her  I  would  do  it  for  her 
— and  now  I  realize  that  /  don't  know  anything 
about  it. 

JENNINGS.  Well — /  can  tell  you  all  about  it,  as 
far  as  that's  concerned,  but — does  she  have  to  do 
it? 

ANNABELLE.  Oh,  no — she  just  thought  she'd  like 
to.  She's  a  woman  who  likes  to  try  everything. 

JENNINGS.  Can't  you  advise  her  not  to?  Some 
how  it's  a  thing — that  if  you  once  do — I  don't  know 


24      "GOOD   GRACIOUS  ANNABELLE" 

— it's  an  active  start  in  the  wrong  direction — surely 
if  she  has  you  for  a  friend 

ANNABELLE.  You  mean  lend  it  to  her — I  could 
do  that,  of  course. 

JENNINGS.  I  know  there  are  some  people  one 
can't  lend  to — I  mean — there'd  be  no  end  to  it 

ANNABELLE.  Oh,  Katie's  not  like  that — oh,  no — 
it  was  just  that  she'd  heard  so  much  about  this  she 
thought  she'd  like  to  try  it — but  I'll  tell  her  what 

you  say ('JENNINGS  starts  off  R.I.)     Oh,  Mr. 

Jennings.  What  time  is  it?  ( JENNINGS  fusses  ner 
vously  with  his  watch  chain.  She  knows  it  has  been 
pawned)  Oh,  never  mind — isn't  it  awful?  (JEN 
NINGS  peers  at  clock  off  L.) 

JENNINGS.     It's  just  two-thirty 

ANNABELLE.  Thank  you  so  much.  My  watch  is 
always  wrong,  too. 

JENNINGS.  (Whimsically)  Mine  is  in  wrong, 
Mrs.  Leigh.  (Exits  R.I.) 

ANNABELLE.  Poor  Mr.  Jennings — I  must  lend 
him  some  money,  the  minute  I  get  some  myself. 

JAMES.  (To  WICKHAM.  Entering  L.I.,  going  up 
L.  corridor)  You  heard  about  his  sunken-garden — 
he  put  a  fortune  in  that. 

MUSIC  R.u. 

(Music  cue,  "Other  Eyes!'    Enter  ALEC  L.i.J 

ANNABELLE.  (x.c.  To  ALECJ  Who  is  it  that's 
sunk  a  fortune  in  his  garden? 

ALEC.  (L.C .)  Mr.  Wimbledon,  but  there's  a  gen 
tleman,  got  twice  his  money,  just  come  in — see  him  ? 
He's  the  Montana  millionaire  mine  owner.  He 
owns  the  Baby  Mine.  They  only  take  out  fifty 
thousand  dollars  a  day. 

ANNABELLE.  (Glancing  at  RAWSON,  over  her 
shoulder)  Good  gracious!  (Sits  c.) 

ALEC.     (L.C.)     I  guess  he's  looking  for  me — he's 


"GOOD  GRACIOUS  ANNABELLE"      25 

awful  lonely.  (Crosses  to  L.,  looking  off  at  RAW- 
SON.) 

ANNABELLE.  Fifty  thousand  dollars  a  day  and 
he's  lonely! 

RAWSON.  (Enter  L.I.  To  ALEC  L.)  Well— it's 
too  hot  here  in  town  for  me,  I've  got  to  get  away. 
Are  you  going  with  me? 

ALEC.  I'd  like  to,  sir — I  think  maybe  you  could 
fix  it  up  with  Mr.  Titcomb  to  let  me  off  for  a  week 
or  so. 

RAWSON.  We'll  get  a  machine — for  days  I  must 
be  in  town — but  nights  I  have  to  breathe  real  air — 
where  shall  we  go? 

JAMES.  (Strolling  in  L.U.  corridor  from  Palm 
room  ivith  WICKHAM  L.I J  Then  the  fishing  is  fine 
— 30-pound  bass  we  get  right  off  the  rocks  at  the 
foot  of  the  lawn.  (Exits  L.I.  with  WICKHAM.) 

RAWSON.  That's  what  I  like— fishing.  (Sees 
ANNABELLE)  Find  out  what  place  it  is  they're 
talking  about. 

ALEC.     I  think  I  know,  sir.     (Goes  L. ) 

RAWSON.  (Detains  ALEC  on  his  Rj  Wait — that 
lady  you  were  speaking  to — is  she  staying  here  in 
the  hotel? 

ALEC.  No,  sir— I  think  she  just  came  in  to  meet 
someone. 

RAWSON.     I  want  to  speak  to  her 

ALEC.  (Hesitates)  I  don't  think  it  would  do, 
sir — you  see  it's  different  here  from  out  West  where 
you  was  telling  about. 

RAWSON.  But  you  don't  understand.  I  think 
I  know  the  lady. 

ALEC.  Oh — maybe  you've  made  a  mistake,  sir — 
she  didn't  seem  to  know  you. 

RAWSON.     No — she's  forgotten  me. 

ALEC.  (Sympathetically)  Yes,  sir— ladies  are 
forgetful,  too,  sometimes,  ain't  they,  sir?  (Exits  L. 


26      "GOOD  GRACIOUS  ANNABELLE" 

RAWSON  goes  and  exits  R.    Rather  eyes  ANNABELLE 
as  he  passes.) 

ANNABELLE.  It  would  be  a  comfort  just  to  speak 
to  anyone  with  fifty  thousand  dollars  a  day. 

(RAWSON  enters  RV  hesitates,  goes  to  L.C.,  stops, 
then  turns.) 

RAWSON.     Excuse  me — won't  you? 

ANNABELLE.     Certainly — what  for? 

RAWSON.     I  thought 

ANNABELLE.  That  I  was  someone  else?  No, 
no,  I  wish  I  were — but  I'm  not. 

RAWSON.  (Smiling.  Looking  at  her  almost  ten 
derly)  My  name  is  Rawson — John  Rawson.  I'm 
from  Montana — from  the  mines  out  there. 

ANNABELLE.  (Smiling  up  at  him)  That  must 
be  very  nice — the  Baby  Mine  especially. 

RAWSON.  (Softly,  watching  her)  You  know 
me? 

ANNABELLE.  I  heard  the  name  of  your  mine — 
yes — and  I  liked  it.  It  shows  you're  fond  of  chil 
dren. 

RAWSON.  Then  there's  the  Clara,  the  Janie,  the 
Minnie,  the  Laura 

ANNABELLE.     All  girls 

RAWSON.     And  the  Annabelle. 

ANNABELLE.  That's  me.  (Fluttering.  Rises) 
Good  gracious!  I  must  go. — Excuse  me,  won't 
you?  I  wish  I  could  meet  you,  but  there's  no  one 
to  introduce  us.  Never  mind,  let's — let's  pretend 
we've  met  before,  shall  we?  I'll  tell  you  why. 
Someone  I  know  is  coming  and  I  couldn't  be  talking 
to  you  if  I  didn't  know  you,  could  I? 

RAWSON.  Out  there  we  talk  to  whoever  we 
please. 

(Enter  GOSLING  L.I  J 


"GOOD  GRACIOUS  ANNABELLE"      27 

ANNABELLE.  In  here  we  don't.  (As  GOSLING 
comes  up)  Mr.  Gosling,  Mr.  Rawson. 

GOSLING.  Ah,  Mr.  Rawson — delighted.  (To 
ANNABELLEJ  I  didn't  know  you  had  met  Mr.  Raw- 
son. 

ANNABELLE.  I  didn't  either.  I  mean  meeting 
him  here  was — most  unexpected.  (To  RAWSON) 
Mr.  Gosling  is  my  lawyer. 

GOSLING.  (To  ANNABELLEJ  You — er — you  met 
Mr.  Rawson  at  the  Fair? 

ANNABELLE.  No,  no — you  didn't  know  I'd  been 
to  the  Fair,  did  you  ? 

RAWSON.  (Amused)  Why,  no,  it's  a  surprise  to  me. 

GOSLING.     (Grimly)     It  was  a  surprise  to  me. 

ANNABELLE.  It  was  a  surprise  to  me — yes — 
really — for  I  never  expected  to  go  West  again — I 
said  I  never  would 

RAWSON.     Oh,  you  had  been  out  there? 

ANNABELLE.     Once  a  long  time  ago 

RAWSON.     You  didn't  like  it? 

ANNABELLE.  Mr.  Rawson,  you  wouldn't  think 
that  one  man  could  ruin  a  whole  country  for  a 
woman,  but  that  was  what  happened  to  me. — For 
years  the  whole  West  has  just  meant — one  terrible 
man  that  I  would  cross  worlds  to  be  away  from — 
I  must  go — I'm  giving  a  luncheon.  (Looking  re 
proachfully  at  GOSLING.,) 

GOSLING.  I'll  see  you  later — I  shall  be  here — I 
have  an  appointment  with  Mr.  Murchison. 

ANNABELLE.  (Delighted,  goes  to  him)  Not 
Harry  Murchison — dear  old  Harry? — Then  my 
troubles  are  over. 

GOSLING.  Are  they?  Well,  his  aren't.  Do  you 
know  that  his  wife  is  getting  a  divorce? 

ANNABELLE.  Well — then  let  us  say  that  his 
troubles  are  nearly  over.  Dear  old  Harry — every 
body  loves  Harry  but  Mr.  Gosling— you'd  love  him, 
Mr.  Rawson. 


28      "GOOD  GRACIOUS  ANNABELLE" 

RAWSON.     Would  I? 

ANNABELLE.  Yes — that  is,  I  think  you  would — 
he'd  do  anything  for  anybody.  He's  such  a  fool — 
dear  old  Harry — probably  you  are,  if  I  knew  you 
better,  Mr.  Rawson,  I  hope  you  understand  me — I 
hope  we'll  meet  again. 

MUSIC  STOP 

RAWSON.    Oh,  we  will. 

(Exit  ANNABELLE  to  Palm  room  up  R.     RAWSON 
follows  over  a  little — looks  after  her.) 

GOSLING.  Mr.  Rawson,  I'm  delighted  to  have  an 
opportunity  of  speaking  to  you.  Won't  you  sit 
down?  (They  sit  c.)  As  a  mining  man  who  under 
stands  the  situation — what  is  this  Lone  Claim  stock 
up  to,  do  you  think? 

RAWSON.     I  think  it's  up  to  six  hundred. 

GOSLING.  I  mean  what's  it  going  to  do?  As  a 
friend  of  Mrs.  Leigh's,  I'm  asking.  She  has  two 
shares  of  this  stock. 

RAWSON.     She  has  them — has  she? 

GOSLING.  Yes — that  is — well,  yes.  Now  some 
one  has  sent  for  it — but  I  am  advising  her  not  to 
give  it  up. — Don't  you  think  I'm  right? 

RAWSON.  Well,  that  depends.  Is  she  interested 
in  the  person  who  sent  for  it? 

GOSLING.     No.     It's  her  husband. 

RAWSON.     Oh ! 

GOSLING.  A  very  sad  case,  Mr.  Rawson.  He's 
the  man  she  spoke  of,  who  ruined  the  entire  world 
for  her. 

RAWSON.     I  thought  it  was  just  the  West. 

GOSLING.  Maybe  you  know  a  man  in  Montana 
they  call  the  Hermit  ? 

RAWSON.     Well,  yes — I  used  to  know  him. 

GOSLING.  That's  the  man.  He  was  nameless, 
penniless.  He  made  his  mark  on  the  marriage  con- 


"GOOD  GRACIOUS  ANNABELLE"      29 

tract.  He  had  no  name  to  give  her.  Why,  it  was  a 
clear  case  of  kidnapping. 

RAWSON.  It  sounds  pretty  bad,  unless  he  had 
some  excuse,  some  reason  that  you  don't  know  of ! 

GOSLING.  Excuse — reason,  for  a  big,  bearded 
bandit  entering  a  man's  house  and  carrying  off  a 
child  of  sixteen — what  excuse  can  there  be? 

RAWSON.  Her  father  died,  of  course,  protecting 
her. 

GOSLING.  (Hesitating)  Well,  no,  he  was  a  sick 
man  at  the  time.  fRAWSON  smiles  a  little.) 

RAWSON.  But  she  escaped  from  this  terrible 
creature  ? 

GOSLING.     Yes — she  did. 

RAWSON.  I  don't  see  how  she  escaped  from  a 
man  like  that,  unless  he  let  her  go. 

GOSLING.  Well — I  don't  know  all  the  particu 
lars.  I  only  know  that  a  great  outrage  was  perpe 
trated  without  the  man  ever  having  to  pay  for  it. 

RAWSON.  But  he's  been  paying  for  it  ever 
since ! 

GOSLING.  Yes,  he  made  a  fortune  in  some  way. 
(Enter  JAMES  L.I.)  He  does  support  her,  and  it 
takes  a  fortune  to  do  that. 

JAMES.  (L.C.)  Excuse  me.  Did  you  wish  to 
speak  to  me,  sir? 

GOSLING.  CRAWSON  and  GOSLING  rise)  I'm  de 
lighted  to  have  met  you — Mr.  Rawson — but  you 
haven't  told  me  anything  that  I  want  to  know. 

RAWSON.     Did  you  notice  that? 

GOSLING.  Yes,  I  did — well,  perhaps  later.  (Ex 
its  L.I  J 

JAMES.  (L.C.)  Did  you  want  to  ask  something 
about  Rock  Point,  sir? 

RAWSON.  That  place  where  the  fishing  is  so  fine 
— yes. 

JAMES.  Mr.  Wimbledon  owns  the  place,  sir.  Mr. 
George  Wimbledon. 


30      "GOOD   GRACIOUS   ANNABELLE" 

RAWSON.  Oh,  it's  Mr.  Wimbledon's  place — is  he 
down  here  ? 

JAMES.  No,  sir,  he's  just  gone  out  West.  Do 
you  know  Mr.  Wimbledon? 

RAWSON.     Not  this  one,  no.     I  knew  his  father. 

JAMES.  Oh,  yes — young  Mr.  Wimbledon  is  very 
different  from  his  father. 

RAWSON.     (Thoughtfully)    Is  he?    That's  good! 

JAMES.  He's  got  a  very  fine  place  down  there, 
sir — in  fact,  there's  nothing  but  fine  places  there — 
it's  what  you  might  call  the  cream  of  Long  Island. 

RAWSON.  I  don't  care  so  much  about  cream — 
but  I  was  interested  in  the  fish. 

JAMES.  Oh,  yes,  sir,  if  anyone  cares  for  fishing ; 
no  waiting  for  tides — the  fish  are  always  hungry- 
all  you've  got  to  do  is  cast. 

RAWSON.  Maybe  it's  just  as  well  if  you  don't 
tell  me  any  more  about  that  place.  I  don't  suppose 
Mr.  Wimbledon  wants  to  sell  ?  (Crosses  JAMES  and 
exits  L.I.) 

JAMES.  Well,  hardly,  sir. — Haw — haw (Ex 
its  after  RAWSON  L.I.) 

(Enter  MURCHISON  R.I.) 

MURCHISON.  (x.c.  To  ALEC  entering  L.) 
Page  Mr.  Gosling,  please — and  tell  him  Mr.  Murchi- 
son  is  here. 

ALEC.  (L.C.)  There  is  a  lady  wants  to  see  you, 
Mr.  Murchison. 

MURCHISON.     A  lady? 

ALEC.  Yes,  sir.  She's  in  the  Palm  room,  hav 
ing  lunch. 

MURCHISON.     I'll  go  right  in. 

ALEC.     I  was  to  let  her  know,  sir 

MURCHISON.     Oh,  very  well 

(Exit  ALEC  R.C.  to  Palm  Roomr— MURCHISON  paces 


"GOOD  GRACIOUS  ANNABELLE"      31 

up  and  down  nervously  L.C.    Enter  ANNABELLE 
R.C.  from  Palm  Room — meet  c.) 

ANNABELLE.     (c.)    Harry! 

MURCHISON.  (L.C.  Overjoyed,  seeing  her)  An- 
nabelle !  Well,  this  is  too  good  to  be  true. 

ANNABELLE.     (c.)     How  is  everything,  Harry? 

MURCHISON.  Everything's  beautiful,  wonderful, 
now  that  I  see  you. 

ANNABELLE.  Well,  do  you  know  that  you  are 
doing  a  beautiful,  wonderful  thing? 

MURCHISON.     Well,  I'm  glad.     What  is  it? 

ANNABELLE.  You  are  giving  a  luncheon  in  the 
Palm  Room  in  my  honor! 

MURCHISON.     (Staggered)     I  am? 

ANNABELLE.     Yes. 

MURCHISON.     Are  we  alone? 

ANNABELLE.  Oh,  no.  Delightful  people  are  to 
be  present.  In  fact,  they  are  present. 

MURCHISON.     They  are? 

ANNABELLE.  Maybe  you  don't  want  to  have  us 
to  lunch (Seeing  MURCHISON  hesitate.) 

MURCHISON.  Oh,  perfectly  charmed — delighted, 
Annabelle,  of  course,  but  there's  one  little  difficulty. 
I'm  stranded  here  without  a  cent.  Ada,  well,  you 
won't  believe  me  when  I  tell  you  what  she's  done. 

ANNABELLE.     I  know — she's  suing  for  a  divorce. 

MURCHISON.  That's  not  the  worst.  She's  at 
tached  my  bank  account. 

ANNABELLE.  Good  gracious — well — there  are  all 
sorts  of  attachments  between  married  people,  aren't 
there,  Harry?  (She  looks  thoughtful.) 

MURCHISON.  (Hesitates)  Is  it  quite  a  lunch, 
Annabelle  ? 

ANNABELLE.  Yes,  but  don't  bother  about  it, 
Harry. 

MURCHISON.  Why,  my  dear,  I'm  perfectly  de 
lighted.  I  was  only  going  to  say  that  if  it  was  just 


32      "GOOD  GRACIOUS  ANNABELLE" 

a  little  lunch,  I  have  five  dollars,  but  that's  ridicu 
lous. 

ANNABELLE.  Yes,  perfectly  ridiculous.  .  .  . 
Lend  it  to  me,  Harry. 

MURCHISON.     Why,  certainly.     (Gives  her  bill.) 

ANNABELLE.     I  haven't  any  change 

I  MURCHISON.     I  have  an  appointment  with  Gos 
ling.     He'll  probably  make  everything  all  right. 

(Enter  JENNINGS  R.I.  with  three  orchids.) 

JENNINGS.     Er — Mrs.  Leigh. 
ANNABELLE.     Yes.     Oh,   it's    Mr.   Jennings.      I 
want  you  and  Mr.  Murchison  to  meet. 

(The  gentlemen  shake  hands.    JENNINGS  to 
MURCHISON.  ) 

JENNINGS.  (To  ANNABELLE,)  The  flower  man 
has  found  the  orchids. 

ANNABELLE.     Are  they  nice  ones? 

JENNINGS.  They  ought  to  be — $5.00  apiece.  You'll 
pardon  my  speaking  of  it. 

ANNABELLE.     How  beautiful !     (Taking  one.) 

MURCHISON.     (L.C.)    But  $5  apiece! 

ANNABELLE.  Is  there  any  comparison  between 
this  and  this  ?  (Holding  orchid  in  one  hand  and  bill 
in  the  other)  Leave  this  one  with  me  and  take  the 
rest  to  my  table.  (Gives  the  bill.)  Pay  him  for  this 
one,  Mr.  Jennings.  Thank  you. 

(Exit  JENNINGS  R.I.  Rather  amused  at  MURCHI 
SON.  ANNABELLE  crosses  a  little  R.  Enter  GOS 
LING  L.I.J 

GOSLING.  (Going  to  MURCHISON  J  How  are  you, 
Mr.  Muchison (To  ANNABELLE^  Well,  I 


"GOOD  GRACIOUS  ANNABELLE"      33 

found  out  from  Spalding  about  your  stock.  George 
Wimbledon's  got  it. 

ANNABELLE.  Oh,  well,  if  you  know  who  has  it, 
we  can  get  it. 

GOSLING.  Can  we?  That  may  not  be  so  easy. 
I  doubt  if  I  can  even  see  him. 

ANNABELLE.     (R.C.)    Well,  I'll  see  him. 

GOSLING,  (c.)  You!  He's  the  hardest  man  in 
New  York  to  see.  I'm  trying  now  to  get  him  on  the 
phone  at  Rock  Point.  Well,  Mr.  Murchison. 
(Turns  to  MURCHISON  L.c.J 

MURCHISON.  (L.cJ  Before  we  say  another 
word,  Gosling,  I  want  you  to  let  me  have  a  thousand 
dollars. 

GOSLING.  Well,  I  guess  that's  the  end  of  our 
conversation,  Murchison.  fx.L.j 

MURCHISON.  What  do  you  mean?  I'll  tell  you 
my  position.  Gosling — she  has  attached  everything 
I've  got  so  that  I'm  here  in  the  city  without  a  cent, 
and  I  want  you  to  see  her  and  tell  her  what  the  at 
titude  of  a  (decent  woman  would  be  under  the  cir 
cumstances. 

GOSLING.  (L.)  Mr.  Murchison,  I  consider  your 
wife  a  lovely  woman — and  I  have  no  doubt  that 
you  are  to  blame.  I  won't  take  the  case  and — I  am 
astounded  that  a  man  of  your  wealth  should  be 
grudge  your  wife  a  living  wage.  (Exit  GOSLING 

L.I.J 

MURCHISON.  (L.C.)  Well,  what  do  you  think  of 
that? 

ANNABELLE.  (R.C.  to  c.)  Go  to  my  table,  Harry, 
and  drink  a  glass  of  champagne. 

MURCHISON.  What's  the  use?  The  effect  wears 
right  off.  fx.R.J 

(Enter  TITCOMB  L.I.    Stops  at  seeing  MURCHISON.) 
ANNABELLE.     (cj     Then  drink  another. 


34      "GOOD   GRACIOUS   ANNABELLE" 

MURCHISON.  Excuse  me,  Annabelle,  for  spoil 
ing  your  party.  I  must  phone  Ada's  lawyers.  (Ex 
its  R.I  J 

(TircoMB  approaches  ANNABELLE  c.) 

TITCOMB.     Pardon  me,  Madam 

ANNABELLE.     Oh — is  it  about  the  suite? 

TITCOMB.  Yes — I — er — I'm  afraid  we  won't — we 
won't  be  able  to  accommodate  you 

ANNABELLE.  Oh,  but  you  must — I've  sent  for 
my  dog  and  everything. 

TITCOMB.     Well — we  don't  allow  dogs,  anyway. 

ANNABELLE.  Oh — don't  you?  They're  so  much 
pleasanter  than  most  people. 

TITCOMB.  I  find  on  inquiring  that  we  haven't 
the  suite  I  was  thinking  of. 

ANNABELLE.  Oh — haven't  you?  Well — then  I'll 
have  another  one. 

TITCOMB.     (Uneasy)     I'm  very  sorry. 

ANNABELLE.  But  you  must  have  plenty  of  them 
at  this  time  of  the  year.  .  .  .  Please  explain.  I 
know  you're  keeping  something  from  me. 

TITCOMB.  Well,  Madam,  really,  if  you  insist — 
I  will.  It  seems — we  learn  from  the  Hathmore  that 
there  was  some  trouble  about  a  check. 

ANNABELLE.  (Surprised)  But  how  did  you 
hear  that? 

TITCOMB.     We  inquired. 

ANNABELLE.  Oh,  and  do  you  always  find  out 
about  people  ? 

TITCOMB.     We  try  to. 

ANNABELLE.  I  see.  Well,  I  don't  think  I'd  like 
it  here,  then,  anyway — I  don't  like  a  noisy — hotel— 

TITCOMB.  Very  well,  Madam.  (Exit  TITCOMB 
L.  up  hall,  rather  anxious  to  get  away.) 

ANNABELLE.  Why,  I  haven't  any  place  to  go. 
(She  goes  to  seat  c.  and  stands  for  a  moment.  Sits 


"GOOD  GRACIOUS  ANNABELLE"      35 

on  seat)  And  no  money  for  three  months.  I  can't 
pay  for  the  lunch  until  the  i6th  of  October.  They 
can  never  eat  that  long,  f  ANNABELLE  hesitates, 
then  is  seized  with  an  idea.  ALEC  enters  L.I.,  conies 
to  L.  corridor,  starts  up  L.)  Boy,  page  Mr.  Raw- 
son. 

ALEC.  He's  right  here,  Madam.  (Exits  L.I.  Go 
ing  back  of  RAWSON.J 

RAWSON.  (Enters  L.I.  to  her)  Excuse  me — did 
you  send  for  me? 

ANNABELLE.  I  did.  (Motioning  him  to  sit  down 
c.  He  does  so)  Mr.  Rawson,  I  wanted  to  ask  you 
something.  You  know,  you  seem  to  me  to  be  a 
man  who  without  understanding  might  understand 
so  much.  In  a  situation,  I  mean — well,  like  mine, 
for  instance — Mr.  Rawson,  do  you  know  Watt's 
picture  of  Hope?  I  mean  have  you  seen  it?  The 
original?  (He  shakes  his  head  no,  looking  at  her 
with  deep  interest)  Well,  you  wonder  why  she  does. 
For  there  the  woman  sits,  on  a  world,  a  large  ball 
in  space,  with  a  bandage  over  her  eyes,  playing  on  a 
broken  harp.  Oh,  more  than  broken,  but  there  is  a 
single  string,  yes,  she  has  that,  just  a  little  bit  of 
string,  and  in  the  sky  there  is  a  tiny,  oh,  the  smallest 
imaginable  star.  What  I  was  going  to  say  was,  will 
you — will  you  have  lunch  with  me? 

RAWSON.  I'm  sorry,  but  I  can't.  (Bus.  away) 
I  would  have  been  glad  to,  but  I  can't. 

ANNABELLE.  Oh!  (Sadly)  If  I  had  asked  you 
before,  you  would? 

RAWSON.  Gladly,  but  why  should  you  want  me? 
You  have  artists,  poets,  and  all  friends.  .  .  .  While 
I  am  only  a  stranger. 

ANNABELLE.  I  don't  know,  but  it  seemed  to  me 
you  would  supply  something  the  rest  of  us  lack 

RAWSON  .     Really  ?    What  is  that  ? 

ANNABELLE.     Success. 

RAWSON.     Oh,  but  I'm  not  a  success. 


36      "GOOD  GRACIOUS  ANNABELLE" 

ANNABELLE.     Fifty  thousand  dollars  a  day. 

RAWSON.  That  isn't  success.  I  failed  in  the 
most  important  thing  I  ever  had  to  do — fifty  thou 
sand  dollars  a  day  isn't  happiness.  It  isn't  suc 
cess. 

ANNABELLE.  Perhaps  not.  It  seems  like  a  very 
good  beginning.  Mr.  Rawson,  do  you  think  that  a 
woman — has  the  same  right  to  ask  a  thing  of  a  man, 
that  if  she  were  a  man,  she  would  feel  that  she 
could  ? 

RAWSON.  (Puzzled)  Do  you  mean,  do  I  be 
lieve  in  votes  for  women  ? 

ANNABELLE.  No,  I  didn't,  but,  of  course,  that 
would  be  part  of  it — free  speech  and  the  vote  would 
make  women  less  timid,  I  suppose. 

RAWSON.  It  doesn't  seem  to.  They  have  it  in 
the  West,  where  I  come  from. 

ANNABELLE.  (Aside)  Oh,  dear,  here  we  are 
talking  politics,  and  I'm  really  hungry.  .  .  . 

RAWSON.  Oh!  I  mustn't  keep  you.  (Getting 
up.) 

ANNABELLE.         (Desperately)         No,       please, 

don't ^RAWSON  sits)    I  haven't  told  you  what 

I  wanted  to.     I  want  something  done  for  me,  Mr. 
Rawson — it's  perfectly  absurd — but  I  do 

RAWSON.     (Eagerly)    Tell  me  what  it  is 

ANNABELLE.  I  can't — that  is,  I  will — I  need — I 
want  you,  just  for  to-day. 

RAWSON.     Yes. 

ANNABELLE.  (Waving  the  orchid,  nervously  un 
able  to  say  what  she  intended  to)  Wear  this  flower. 
(RAWSON  takes  flower)  I  know  it  seems  foolish, 
I  don't  know  why  I  ask  you — I  wouldn't  do  it  if  I 
were  you — it'll  look  ridiculous. 

RAWSON.  (Rising  and  starting  for  Palm  Room 
up  L. — assisting  ANNABELLE,  who  protests,  but 
anxiously  goes)  I  will — I  will  wear  it,  and  I  will 
have  lunch  with  you. 


"GOOD  GRACIOUS  ANNABELLE"      37 

ANNABELLE.     Oh,  no,  please  don't. 
RAWSON.     I    will.  .  .  .  Nothing,    not   even   you, 
shall  stop  me.     (They  exit  up  R.L.  to  Palm  Room.) 

(Enter  GWENDOLEN  up  R.  from  Palm  Room,  sits  L. 
end  of  bench  RV  agitated.  Takes  out  mirror 
and  hankkerchief  from  vanity  case  and  weeps 
a  little  carefully.  Enter  ALFRED  up  R.  hur 
riedly.  Sits  R.  beside  GWENDOLEN. ) 

ALFRED.  Don't  be  silly,  Gwen,  you'll  break  up 
the  whole  party. — Jennings  didn't  mean  you. 

GWENDOLEN.     He  did,  he  said  I  was  a  parachute. 

ALFRED.  Parasite.  But  he  didn't  say  that — he 
said  some  girls  were. 

GWENDOLEN.  Girls  that  don't  do  anything,  well, 
that's  me.  I'm  not  good  for  anything  but  to  spend 
your  money. 

ALFRED.  Well,  if  you  can  find  any  to  spend, 
you'll  help  me  more  than  you  could  any  other  way. 

(Enter  JENNINGS  and  ETHEL  from  Palm  Room  up 
R.    ALFRED  rises.) 

ETHEL.  My  dear  girl,  I  knew  you  didn't  want 
to  powder  your  nose.  ( GWENDOLEN  rises,  goes  L.C. 
To  JENNINGS^  Now  you  see  what  you've  done, 
why  do  you  say  such  things? 

JENNINGS.  (Going  to  GWENDOLEN  L.J  But  my 
dear  Miss  Morley,  I  was  only  speaking  of  the  fat, 
idle  rich.  You  find  them,  in  limousines — like  mush 
rooms  under  glass,  nothing  like  you  at  all. 

GWENDOLEN.  (L.C.)  I  am  idle  and  my  father  is 
rich,  and  I  shall  probably  be  fat  in  time,  but  it 
doesn't  matter.  I'm  very  silly,  I  know.  I  shouldn't 
have  minded,  but  I  did. 

ETHEL.  Come,  children,  Annabelle  doesn't  know 
what's  the  matter. 


38      "GOOD  GRACIOUS  ANNABELLE" 

ALFRED.  I  don't  think  she  even  noticed  that  we 
left.  (They  exchange  glances.) 

ETHEL.     It's  quite  a  case,  isn't  it  ? 

ALFRED.     With  Rawson?    It's  a  prairie  fire. 

JENNINGS.  But  I  like  it  that  you  did  mind.  It 
shows  what  a  dear  you  are.  I  don't  know  when 
I've  seen  anyone  that  impressed  me  —  so  as  alto 
gether  —  jolly. 

GWENDOLEN.  (L..C.  Powders  her  nose)  Does  it 
look  very  pink? 

JENNINGS.  It  looks  perfectly  beautiful.  (They 
start  out  to  Palm  Room  R.  ETHEL,  ALFRED  and 
GWENDOLEN  exit  up  R.) 

(Enter  MURCHISON,  disturbed^  R.I.     Detains  JEN 
NINGS,  who  follows  last  with  GWENDOLEN,) 

MURCHISON.     Jennings  —  just  a  moment. 

JENNINGS.  (To  GWENDOLEN,  at  her  L.  Excuse 
me.  (^GWENDOLEN  exits  up  Rj 

MURCHISON.  Is  Mrs.  Leigh  still  in  the  Palm 
room? 

JENNINGS.     Why,  yes  —  she  was  when  I  left. 

MURCHISON.  Do  you  think  you  could  get  her  to 
come  out  for  a  moment? 

JENNINGS.     I  suppose  so. 

MURCHISON.  It's  very  important.  I'm  in  a  great 
trouble,  Jennings. 

JENNINGS.  We  all  are.  (Goes  back  of  him,  exits 
up  R.  to  Palm  Room.) 


goes  L.C.,  paces  up  and  down  ner 
vously.    Enter  ANNABELLE  up  R.    Meet  c.) 

ANNABELLE.     What  is  it,  Harry?     (To  c.) 
MURCHISON.     (Hurriedly  going  to  her)     Anna- 
belle  —  I've  just  had  Ada's  lawyers  on  the  phone.     I 
hardly  know  how  to  tell  you  this  —  maybe  it  would 


"GOOD  GRACIOUS  ANNABELLE"      39 

be  better  to  wait  and  let  you  read  it  in  the  news 
paper. 

ANNABELLE.     Good  gracious,  Harry — what  is  it? 

MURCHISON.  Ada  has  named  you  as  co-respond 
ent. 

ANNABELLE.  Named  me?  Good  gracious! 
(Sinks  into  bench  c.) 

MURCHISON.  (Sits  L.  of  her)  It's  terrible — I 
could  kill  her. 

ANNABELLE.  You  should  have  thought  of  that 
before,  Harry. 

MURCHISON.  I  suppose  it  was  our  being  at  the 
Fair  together. 

ANNABELLE.     But  we  weren't  alone  at  the  fair. 

MURCHISON.  No — but  don't  you  remember  that 
day  you  came  to  see  me  at  the  Hotel — you  came  to 
my  rooms.  I  think  she  had  us  watched,  Annabelle. 

ANNABELLE.  Well — if  she  had  us  watched  we're 
all  right. 

MURCHISON.  Oh,  it's  on  your  account  that  I 
feel  so  furious,  you  dear,  sweet  little 

ANNABELLE.  Harry !  Remember — you  promised 
never  to  speak  to  me  in  that  tone  of  voice. 

MURCHISON.  I  can't  help  it — when  I  think  of 
what  you've  got  to  go  through. 

ANNABELLE.     What  will  they  do  to  me,  Harry? 

MURCHISON.     Oh,  good  Lord — I  don't  know. 

ANNABELLE.  Good  gracious,  will  it  be  as  bad  as 
that? 

MURCHISON.  (Rises)  If  you  could  only  get 
away  before  they  do  anything. 

ANNABELLE.     Get  away?    Can  they  stop  me? 

MURCHISON.     They'll  serve  you  with  papers. 

ANNABELLE.  Well,  I  wouldn't  mind  that, 
would  I? 

MURCHISON.  Then  you'd  have  to  appear,  you 
know — dragged  through  the  courts. 


40      "GOOD  GRACIOUS  ANNABELLE" 

ANNABELLE.  (Nervous  but  brave)  Dragged 
through  the  courts,  Harry  ? 

MURCHISON.  And  on  my  account.  And  all  for 
nothing.  If  there  was  anything  in  it — I'd  stand  up 
and  take  my  medicine  like  a  man. 

ANNABELLE.  Yes,  but  I'm  not  a  man — who'd 
take  mine? 

MURCHISON.  You've  got  to  go  away  from  here 
— as  soon  as  they  find  you're  in  town  they'll  have 
a  flock  of  process-servers  after  you — I  know  Ada. 
( Goes  R .)  I'll  find  some  place  for  you. — You've  got 
to  get  away.  (Exit  MURCHISON  R.I.J 

ANNABELLE.  (In  a  daze)  This  is  awful.  I'm 
just  a  homeless,  penniless  co-respondent.  I've  got 
to  get  away !  (Rises)  I've  got  to  get  away ! 

• 

(Enter  JAMES.     WICKHAM,  follows  L.I.     Comes  to 
halt  L  J 

JAMES.  (L.)  Well,  I've  Mr.  Wimbledon's  orders 
to  carry  out — I  must  be  getting  along  to  the  bureaus, 
Mr.  Wickham. — I've  the  gardener,  the  chauffeur, 
parlor  maid,  cook  and  cook's  helper  to  replace. 
Seraphina  was  a  great  cook.  It  ain't  likely  we'll 
get  another  like  her.  A  liberal  provider.  There's 
been  times  when  she's  served  herself  three  broilers 
at  one  sitting,  Mr.  Wickham,  and  for  mushrooms 
and  young  onions  she'd  her  own  private  basket — 
why,,  the  peas  hardly  had  a  chance  to  fill  out  before 
she'd  be  craunching  of  them,  and  sometimes  she'd 
eat  pods  and  all.  Ah,  yes,  she  was  a  hearty  eater 
was  Seraphina,  but  I  am  myself.  And  a  good  cook 
is  usually  a  good  eater.  You  must  come  down, 
Wickham.  The  cream  and  the  vegetables,  the  fruit, 
a  little  country  would  do  you  good.  Come  down  to 
morrow,  if  you  can  get  away. 

WICKHAM.  All  right,  Mr.  Ludgate.  Perhaps  I 
will.  (Exits  L.I.; 


"GOOD  GRACIOUS  ANNABELLE"      41 

ANNABELLE.  (c.  JAMES  X.R.  of  ANNABELLE  be 
fore  she  detains  him.  She  goes  down  c.)  Excuse 
me — I  overheard  your  conversation,  Mr. 

JAMES.  (R.C.)  Mr.  Ludgate,  Madam — gentle 
man's  gentleman  to  Mr.  Wimbledon. 

ANNABELLE.  Mr.  Ludgate — yes — I  understand 
that  you  are  looking  for  an  artiste  de  la  cuisine 

JAMES.     A  what,  Madam? 

ANNABELLE.     A  cook ! 

JAMES.  (Relieved)  Oh,  yes,  Madam — I  am. — 
It's  for  Mr.  Wimbledon's  place  at  Rock  Point,  Long 
Island 

ANNABELLE.     How  many  are  there  in  the  family? 

JAMES.  Well,  Madam,  Mr.  Wimbledon  is  all  the 
family  there  is — and  he's  nearly  always  away. 

ANNABELLE.  (c.)  That  would  be  satisfactory. 
What  are  the  living  accommodations? 

JAMES.  (R.C.)  The  very  best,  Madam.  Sleep 
ing-room  to  herself  and  bath,  and  when  there  is  no 
body  there,  cook  gets  up  when  she  feels  like  it. 
The  undercook  prepares  the  cook's  breakfasts,  as 
sisted,  of  course,  by  cook's  helper 

ANNABELLE.     Perfectly  satisfactory. 

JAMES.  Madam  perhaps  has  a  cook  she  wishes 
to  place  ? 

ANNABELLE.     Perhaps. 

JAMES.  The  cook  you  have  reference  to  has  had 
•experience;  she's  a  finished  cook? 

ANNABELLE.     (c.)    Oh,  yes — she  is. 

JAMES.     (R.C.)     What  wages? 

ANNABELLE.     Well — what  wages? 

JAMES.     We've  been  paying  a  hundred  a  month. 

ANNABELLE.     That  will  do — I'll  take  the  place. 

JAMES.  (Looks  her  over)  You?  But  you  ain't 
a  cook. 

ANNABELLE.     How  dare  you  insult  me? 

JAMES.  I  beg  your  pardon — but  anyone — anyone 
would  say  you  was  a  lady. 


42      "GOOD  GRACIOUS  ANNABELLE" 

ANNABELLE.  If  the  two  are  incompatible — I  am 
not. — Tell  me,  have  you  had  a  cook  whose  Asperge 
Espagnole  was  a  dream?  Whose  cherry  mousse 
was  a  poem — whose  Shetland  pudding  was  a  ro 
mance,  I  ask  you — have  you  ? 

JAMES.  We  ain't  never  had  no  Shetland  pud 
ding. 

ANNABELLE.  Then  you  ain't  never  had  no  regu 
lar  cook,  Mr.  Ludgate.  Listen,  did  you  ever  serve 
a  cup  for  which  was  required  an  apricot  chilled  in 
brandy  in  each  glass — a  few  crushed  mint  leaves — 
a  dash  of  maraschino — plenty  of  crushed  ice — Sau- 
terne  chilled  in  a  bowl  in  which  candied  violets  have 
been  standing  for  an  hour — well-shaken  and  served 
with  velvet  cakes  ? 

JAMES.     Velvet  cakes  ? 

ANNABELLE.     You  know  velvet  cakes 

JAMES.     Never  knew  none. 

ANNABELLE.     (Surprised)     Oh,  dear 

JAMES.  (Eagerly)  When  will  we  expect  you 
down  ? 

ANNABELLE.  The  sooner  the  better — right  away 
— and  I  shall  require  sixty  dollars  in  advance,  or 
perhaps  we  had  better  make  it  seventy-five. 

JAMES.  I  can  arrange  that — you  want  it  before 
you  leave? 

ANNABELLE.     Yes. 

JAMES.  I  can  take  you  down  in  the  car,  if  you 
wish. 

ANNABELLE.     What  kind  of  a  car? 

JAMES.     It's  a  Fiat. 

ANNABELLE.     Perfectly  satisfactory. 

JAMES.  Wre'll  start  as  soon  as  I've  been  to  the 
bureaus — I've  other  servants  to  replace.  A  gardener 
— chauffeur — cook's  helper — parlor  maid.  I'll  be 
back  at  five.  (Starts  L.I  J 

ANNABELLE.  (To  c.)  Wait  a  moment — I  know 
an  excellent  gardener — a — fine  chauffeur — a  willing 


"GOOD  GRACIOUS  ANNABELLE"      43 

cook's  helper — and  a  most  attractive  parlor  maid. 

MAID.     Where  can  I  see  them? 

ANNABELLE.  You  can  see  them  now.  I'm  hav 
ing  them  to  lunch  in  the  Palm  Room.  Just  a  min 
ute.  (Starts  up  to  Palm  Room  R.,  but  is  stopped  by 
RAWSON'S  entrance  from  Palm  Room,  who  enters 
up  R.J 

JAMES.  Lunch  in  the  Palm  Room — velvet  cakes. 
My  Word !  (Walks  away.  Exits  L.I  J 

RAWSON.     (Goes  down)     Is  anything  the  matter? 

ANNABELLE.  No — that  is — I'm  leaving  town  im 
mediately,  Mr.  Rawson.  I've  been  called  away  un 
expectedly.  I  wonder  if  you'd  do  something  for 
me? 

RAWSON.  (Close)  You  know  I  would  do  any 
thing 

ANNABELLE.     (R.C.)     Already?     How   nice — 
Well,  you  see,  I  thought  I  was  going  to  stop  here, 
and  I  sent  for  my  things.    Now  I'm  in  such  a  hurry 
to  get  away,  I  wonder  if  you'd  send  them  to  me 
when  they  come? 

RAWSON.     Gladly.     Where  shall  I  send  them? 

ANNABELLE.  To — er — t — the  station  at  Rock 
Point,  Long  Island. 

RAWSON.     Rock  Point?    No  address? 

ANNABELLE.     No. 

RAWSON.     Not  even  care  of  anybody? 

ANNABELLE.  No — no,  I'll  send  for  them.  There 
are  four  trunks  and  two  hat  boxes  and  a  dog.  Do 
you  think  you  can  do  it? 

RAWSON.     I'm  sure  I  can. 

ANNABELLE.  And,  Mr.  Rawson — if  you  don't 
mind,  please  don't  tell  anyone  where  I've  gone. 

RAWSON.  Of  course  not.  I  wouldn't  even  tell  if 
I  knew  just  where  you  were  going. 

ANNABELLE.  (Looks  up  at  him)  I  don't  believe 
vou  would.  I  feel  that  I  can  trust  you. 


44      "GOOD   GRACIOUS   ANNABELLE" 

RAWSON.  You  can.  Now  I'll  find  a  porter  we 
can  trust. 

ANNABELLE.  Oh,  thank  you!  You're  so  nice. 
(Exit  ANNABELLE  up  R.  to  Palm  Room.  RAWSON 
goes  to  L.  and  calls  to  JAMES.J 

RAWSON.  Just  a  moment.  fjAMES  enters  L.i.J 
That  place — Rock  Point — is  there  a  hotel  there? 

JAMES.  Oh,  no,  sir — only  private  estates — big 
show  places — like  ours. 

RAWSON.  I  see.  (Boldly)  Do  you  happen  to 
know  at  which  one  Mrs.  Leigh  visits  ? 

JAMES.  (Condescendingly)  Mrs.  Leigh — why, 
no,  sir.  It  might  be  at  the  Brindley  Fortesques — 
or  the  Dunder — Hallidays — or  then  again,  it  might 
be  the  Tipton  Grangers 

RAWSON.     Are  they  near  your  place? 

JAMES.  Oh,  no,  sir — nothing  is  near  anything 
down  there — that's  the  beauty  of  it. 

RAWSON.  (Fearlessly)  I  want  to  come  down 
there. 

JAMES,  Yes,  sir — well,  why  don't  you  come 
down? 

RAWSON.     I  mean  to  stay. 

READY  MUSIC  up  R. 

JAMES.  (Hesitates)  Well,  sir — I  wish  it  could 
be  arranged 

RAWSON.     It  can. 

JAMES.     Can  it? 

"RAWSON.     Can't  it? 

JAMES.     You  mean 

RAWSON.  (Bill — yellowback  from  wallet)  Yes 
— I  mean  that — just  between  ourselves — I  rent  the 
place  of  you — a  thousand  a  week. 

JAMES.  Well,  sir,  I  think  it  might  be  arranged 
—if  Mr.  Wimbledon  was  there,  I'm  sure  he'd  be  de 
lighted — and  just  because  he  ain't 

RAWSON.  (Giving  him  bill)  I'll  be  down  to 
night.  (Exit  L.; 


"GOOD  GRACIOUS  ANNABELLE"      45 

JAMES.  What  train,  sir? — I  shall  have  the  car 
meet  you  at  the  station.  ( JAMES  exits  after  RAW- 
SON  L.I.J 

(Enter  ANNABELLE,  followed  by  JENNINGS,  ETHEL, 
GWENDOLEN  and  ALFRED  from  up  R .) 

MUSIC  CUE.    "Just  You  and  I." 
Play  until  curtain 

JENNINGS.  But,  Mrs.  Leigh,  I  don't  know  any 
thing  about  gardening. 

ANNABELLE.  Get  a  gardener's  book  and  read  it 
on  the  train  going  down.  ( JENNINGS  goes  to  GWEN- 

DOLEN.J 

ALFRED.  You're  not  really  serious,  Anna- 
belle 

ANNABELLE.  I  am  serious — terribly  serious.  I 
must  go  down  there. 

ETHEL.     But  why  should  we  go? 

ANNABELLE.  I'll  tell  you  all  why  later.  You 
must  help  me.  You  can't  desert  me.  (To  JAMES, 
who  has  come  on  L.I.  with  note-book  and  pencil) 
Here  they  are,  Mr.  Ludgate.  This  is  Lizzie  Mc- 
Quade,  my  helper.  We've  worked  together  for 
years,  haven't  we,  Lizzie? 

JAMES.  Lizzie  McQuade — wages  forty  dollars. 
Is  that  satisfactory,  Lizzie? 

ANNABELLE.     Perfectly  satisfactory • 

JAMES.     And  I  didn't  get  your  name.     (To  AN- 

NABELLE.J 

ANNABELLE.  My  name  is  Annie,  Annie  Postleth- 
waite,  Mrs.  Postlethwaite,  please,  Mr.  Ludgate. 

JAMES.     Pottleswaite  ? 

ANNABELLE.  Not  Pottle-Postle.  This  is  the 
chauffeur,  Mr.  Featherstone,  Ronald  Featherstone. 

JAMES.  Ronald?  Mr.  Wimbledon  objects  to  that 
name. 


46      "GOOD  GRACIOUS  ANNABELLE" 

ALFRED.     So  do  I. 

ANNABELLE.  He  can  use  his  middle  name,  Mac- 
Aninny. 

JAMES.  I'll  put  down  Mac.  He  will  be  driving 
the  servants'  car  mostly.  Wages,  one  hundred  a 
month,  the  same  as  the  other  chauffeurs.  You  and 
I  are  considered  of  equal  importance  with  the  fam 
ily,  Mrs.  Losslethorpe. 

ANNABELLE.  I  should  think  so.  What  good  is 
the  rest  of  the  family  if  you  kill  the  cook?  BETHEL 
interrupts)  That's  all,  Lizzie. 

ETHEL.  I  should  hope  so.  (Exit  ALFRED  and 
ETHEL  into  Palm  Room  R.J 

ANNABELEE.  This  is  the  gardener,  Mr.  Jennings 
— Alonzo  Jennings. 

JAMES.     Are  you  married,  Mr.  Jennings  ? 

JENNINGS.     Married? 

JAMES.  Mr.  Wimbledon  likes  to  have  the  garden 
er's  wife  in  the  lodge. 

ANNABELLE.  You  mean  the  gardener  must  be  a 
married  man  ? 

JAMES.    Yes. 

ANNABELLE.  (Her  gaze  wanders  to  GWENDO 
LEN  )  Well,  I  don't  see  but  you'll  have  to  go  down, 
then,  Maggie.  (^GWENDOLEN  goes  to  her)  This  is 
Mrs.  Jennings,  Mr.  Ludgate.  I  did  think  of  her 
for  parlor-maid.  Maybe  she  could  be  both — Mr. 
Jennings'  wife,  and  parlor-maid,  too. 

JAMES.  I  see  no  objections,  as  long  as  she  sleeps 
in  the  Lodge. 

WARNING 

GWENDOLEN.     (Terrified)     Annabelle ! 

JAMES.  (Writes  in  book)  Wages,  forty,  Mag 
gie. 

GWENDOLEN.     But  I  couldn't  sleep  in  the  Lodge. 

JAMES.     Why  not? 


"GOOD  GRACIOUS  ANNABELLE"      47 

GWENDOLEN.     (Boldly)    My  husband  snores 

JENNINGS.     I  don't,  as  a  matter  of  fact. 

ANNABELLE.  I'm  sure  this  can  all  be  adjusted, 
Mr.  Ludgate. 

JAMES.  She  must  be  at  the  Lodge  mornings  to 
open  up  the  windows  and  see  to  breakfast  for  her 
husband  and  the  under-gardener. 

ANNABELLE.  She  will,  she  will ("GWENDO 
LEN  goes  to  JENNINGS.^ 

JAMES.  There's  room  in  the  car  for  Maggie  and 
Lizzie. 

ANNABELLE.  Very  good,  and  Alonzo  and 
Mackinniny  can  take  the  train  down.  (Exit  JAMES 
L.I.J 

(As  JAMES  exits — enter  ETHEL  and  ALFRED,  excited. 
ETHEL  goes  to  ANNABELLE  R.  ALFRED  stops 
at  R.  of  JENNINGS.,) 

ETHEL.  Annabelle !  He's  paid  for  the  lunch  and 
gone! 

ANNABELLE.     Good  gracious!    Who? 

ALFRED.     Rawson. 

ETHEL.  What  a  strange  man,  Annabelle.  No 
real  gentleman  would  have  done  it. 

ANNABELLE.  No — no!  He's  not  a  gentleman. 
God  bless  him !  He's  just  a  man — and  I  must  never 
see  him  again. 

ETHEL.     Why? 

ANNABELLE.  Because  it's  the  first  time  in  my 
life  that  I  ever — I  don't  have  to  tell  you,  Ethel 

JAMES.     (Enter  L.I.)    Come,  Annie!    (Exits  L.I.) 

('ANNABELLE  slowly  starts  L.f  pauses,  speaks  and 
exits.) 


48      "GOOD  GRACIOUS  ANNABELLE" 
ANNABELLE.     Come,  Lizzie! 

CALL  follow  slowly  off  L.I.— after  ANNIE,  MAGGIE, 
ALONZO — JENNINGS.) 

CURTAIN 


ACT  II 

SCENE  :     The  Servants'  Hall  at  WIMBLEDON'S  place. 

TIM^:     Ten  o'clock  the  next  morning. 

DISCOVERED:  On  rise,  JAMES  discovered  talking  to 
the  new  servants,  who  are  lined  up  for  instruc 
tion. 

JAMES.  (R.C.)  I'll  give  you  another  chance, 
Mac — but  see  that  my  car  looks  as  well  as  Mr. 
Wimbledon's 

ALFRED.     Yes,  sir. 

JAMES.  (To  ETHEL)  Now,  Lizzie — you  know 
what  your  duties  are.  You  are  cook's  helper. — Do 
just  as  she  says,  but  if  you've  been  with  her,  you're 
used  to  that. 

ETHEL.     (With  feeling)     Yes — I  am. 

JAMES      Where  did  you  work  last? 

ETHEL.     Why — er — in  a  hotel. 

JAMES.     With  Annie? 

ETHEL.     Annie  ? 

JAMES.  (Pompous)  Mrs.  Pottleswate — but  you 
don't  have  to  correct  me,  Lizzie — you  mind  your 
own  manners,  my  girl. 

ETHEL.  I  didn't  mean  to  correct  you,  I'm  sure, 
Mr.  Ludgate.  I  wouldn't  think  of  interfering  with 
your  manners. 

JAMES.  I  should  hope  not. — When  it  comes  to 
manners,  Mr.  Wimbledon  himself  has  no  better  than 
what  I  have — and  where  is  Annie,  I  mean  Mrs. 
Pottleswate  ? 

49 


50      "GOOD  GRACIOUS  ANNABELLE" 

GWENDOLEN.  She's  not  up  yet — she  seemed  so 
tired,  I  didn't  wake  her. 

JAMES.     You  slept  with  her  last  night,  Maggie? 

GWENDOLEN.     Yes.    She  didn't  want  to  be  alone. 

JAMES.  Was  that  the  reason — or  did  you  quar 
rel  with  your  husband?  (Turns  to  JENNINGS; 
How  about  that,  Jennings? 

JENNINGS.  Well,  we  did  have  rather  a  go  of  it 
last  night — but  it  doesn't  matter  really,  does  it  ? — For 
she  was  over  bright  and  early  opening  the  windows 
and  getting  breakfast. 

JAMES.  I  don't  like  to  see  two  young  people  start 
out  their  married  life  like  you  and  Maggie.  Alonzo 
— fightin'  with  your  wife  is  low,  leave  that  to  those 
who  employ  us.  Kiss  and  make  up — that's  what  I 
say. 

JENNINGS.     I'm  perfectly  willing. 

GWENDOLEN,     So  am  I. 

JAMES.  Now,  Maggie — I'm  going  to  put  you  in 
the  Library. 

GWENDOLEN.     Yes,  Mr.  Ludgate. 

JAMES.  You'll  find  in  a  cabinet  some  Severs 
plates — they're  to  be  your  special  care.  They're 

very  rare.     Now  you  can  all  go.    Oh,  Jennings 

(The  rest  go,  GWENDOLEN  and  ALFRED  out  through 
kitchen  garden  door,  with  ETHEL  L.2  entrance.) 
Jennings,  I  don't  know  why  you  wear  that  smock. 

JENNINGS,  (c.)  Why,  I  found  it  hanging  in  the 
Lodge,  and  I  rather  like  the  looks  of  it. 

JAMES.  (R.C.)  No  manual  labor  is  required  of 
you,  Jennings. 

JENNINGS.  I  suppose  no  one  minds  if  I  hoe  a  lit 
tle,  just  for  exercise? 

JAMES.  As  to  that,  suit  yourself — I  would  sug 
gest  that  you  call  the  under-gardeners  together  and 
give  them  a  talk. 

JENNINGS.     Do  you  think  they'll  listen  to  me? 

JAMES.     Rotation  is  what  Mr.  Wimbledon  wants 


"GOOD  GRACIOUS  ANNABELLE"      51 

— and  everything  out  of  season.  That's  why  Leg- 
get  was  sent  off — he  didn't  believe  in  the  Bell  Sys 
tem — you  know  what  that  is  ? 

JENNINGS.  (At  loss — pretends  he  does)  I  did 
know,  but  it  slipped  my  mind. 

JAMES.  The  glass  bell — it's  a  forcing  system  for 
young  vegetables — it  kills  most  of  them,  but  Mr. 
Wimbledon  believes  in  it — an'  when  he  went  out 
into  the  garden  and  sees  the  bells  all  lying  to  one 
side,  he  flew  into  a  rage — he  paid  a  great  deal  for 
them — and  he  wants  them  used. 

JENNINGS.  When  he  comes  into  the  garden,  I'll 
see  that  the  vegetables  are  all  there  with  the  bells 
on. 

JAMES.  That's  right,  Jennings — I  think  you  look 
very  well.  After  all,  we  make  the  best  servants. 

JENNINGS.  (Goes  R.  and  up  R.3J  Oh,  yes 

(Exits  R.2.J 

(Enter  LOTTIE  R.I.  with  large  tray  containing  a  pot 
of  coffee,  rolls  and  grapefruit,  tastefully  ar 
ranged.  Goes  to  table  L. — puts  tray  on  it.) 

JAMES,     (c.,  goes  L.C.)     What's  all  this? 

LOTTIE.     (L.)    Head  cook's  tray,  ordered  for  ten. 

JAMES.  Oh — well,  I  hope  it's  all  right.  Give  her 
the  best  of  everything. 

LOTTIE.  Of  course — she's  the  new  cook.  (Ar 
ranging  tray  on  table.) 

JAMES.  And  go  light  on  the  liquor  to-day,  Lottie, 
will  you  ? 

LOTTIE.  Go  light  on  it? — (Mournful — it  being 
hidden.)  Where  is  it? 

JAMES.  I  don't  want  you  to  queer  yourself  with 
cook  the  first  day. 

LOTTIE.  Queer  myself?  What  is  it  to  me,  an 
honest,  hard-working  girl,  what  others  think  of  me  ? 


52      "GOOD  GRACIOUS  ANNABELLE" 

I  know  what  I  think  of  them.  (Gives  JAMES  a 
withering  look.) 

JAMES.  What  do  you  mean  by  that,  Lottie — and 
who  do  you  mean? 

LOTTIE.  I  guess  you  know.  Is  that  a  friend  of 
Mr.  Wimbledon's,  came  down  last  night,  Mr.  Lud- 
gate? 

JAMES.  Certainly — that  is  a  very  particular  friend 
of  Mr.  Wimbledon's. 

LOTTIE.  If  he's  very  particular,  why  don't  he 
wait  until  Mr.  Wimbledon's  home? 

JAMES.  (Conciliating)  Come,  Lottie — don't  get 
vicious.  Maybe  when  I  go  down  the  cellar  I'll 
bring  you  up  a  bottle  of  that  Scotch  you  can't  reach 
— just  to  remind  you  of  old  times — when  you  used 
to  think  there  was  no  one  like  James. 

LOTTIE.  Yes — now  I  know  there  ain't.  ( JAMES 
exits  L.B.  Knocks  at  ANNABELLE'S  do  or  L.I.)  It's 
Lottie  with  your  breakfast.  Yes — it's  ten  o'clock 
and  after. 

ANNABELLE.  (Off,  in  a  sleepy  voice)  Is  anyone 
out  there? 

LOTTIE.  No — there's  no  one  out  here — and  it's 
nice  and  cool.  I'll  set  it  right  on  the  table — cer 
tainly.  (Places  chair  left  and  goes  R.  of  table.  En 
ter  ANNABELLE,  goes  to  table.) 

ANNABELLE.  Thank  you,  Lottie — it  looks  very 
nice.  How  did  it  ever  get  to  be  ten  o'clock  ?  (Sits 
L.  of  table,  starts  to  eat,  LOTTIE  standing  by.) 

LOTTIE.  Well,  it  does,  you  know,  just  about  this 
time  every  morning.  (She  laughs  in  a  perfunctory 
way.)  I  hope  everything's  satisfactory.  By  rights 
your  own  helper  should  have  brought  your  tray,  but 
I  knew  James  would  never  be  through  talking  by 
ten.  You  brought  your  helper  down — that's  much 
the  best  way.  I  have  a  girl  with  very  thick  hair 
that  James  picked  out.  He  seems  to  think  they  make 
the  best  helpers — but  I'd  rather  wait  on  meself  than 


"GOOD  GRACIOUS  ANNABELLE"      53 

try  to  get  this  girl  up  mornings.  Your  Lizzie's  a 
nice-looking  girl — and  Maggie's  a  sweet  little  thing. 
She  slept  with  you  last  night. 

ANNABELLE.     Yes 

LOTTIE.  (Longing  for  a  little  gossip)  What's 
the  matter — don't  she  and  Mr.  Jennings  get  on? 

ANNABELLE.  Oh,  yes — it  was  on  my  account.  I 
was  nervous — yes — when  I'm  in  a  new  place  I'm 
apt  to  dream  of  Mr.  Pottlethwaite. 

LOTTIE.  Oh — your  poor,  dear  husband,  I  sup 
pose  ?  Didn't  he  treat  you  right,  or  is  he  dead  ? 

ANNABELLE.  (After  a  moment's  hesitation1) 
Both. 

LOTTIE.  Don't  we  poor  women  have  it  hard? 
But  what  can  we  do  but  just  go  on  and  do  the  best 
we  can?  (Takes  a  nip  from  bottle  she  carries  in 
pocket,  and  explains  as  ANNABELLE  sees  her)  It's 
just  a  little  headache  cologne. 

ANNABELLE.    And  do  you  swallow  it,  Lottie? 

LOTTIE.  It  acts  quicker.  How  do  you  like  your 
costume?  You  look  real  good  in  it. 

ANNABELLE.    Do  I,  Lottie?    I  like  it  very  much. 

LOTTIE.  Mr.  Wimbledon  has  them  all  made  by 
an  interior  decorator — they  cost  fifty  dollars  apiece. 
I  guess  the  man  who  makes  'em  wants  to  retire. 

ANNABELLE.     Yours  is  a  little  different,  Lottie. 

LOTTIE.    Well,  I'm  a  little  different. 

ANNABELLE.    Yours  has  a  bib. 

LOTTIE.  No,  it  don't.  That's  my  collar.  Just 
got  on  that  way  and  I  was  afraid  to  change — it's 
bad  luck,  you  know. 

ANNABELLE.    Oh,  of  course  it  is. 

LOTTIE.  I  don't  know  as  it'll  make  much  differ 
ence.  I've  felt  something  hanging  over  me  all  morn 
ing.  Do  you  ever  feel  that  way? 

ANNABELLE.    Oh,  yes — I  think  everyone  does. 

LOTTIE.  Do  you  believe  in  zoology?  What  the 
stars  tell?  I  have  the  book  that  tells  just  what's 


54      "GOOD  GRACIOUS  ANNABELLE" 

going  to  happen  every  day.  Sometimes  I'm  hardly 
able  to  get  up  when  I  see  how  bad  the  stars  set.  To 
day's  an  awful  evil  day  for  me — my  planets  Saturn 
and  Mercury  are  in  aspic. 

ANNABELLE.    Oh,  no,  Lottie — not  really? 

LOTTIE.  Well — they  are  malefic  aspic — well — 
there's  one  thing  to  be  thankful  for.  I  ain't  going 
to  be  born  to-day. 

ANNABELLE.  Why,  Lottie,  is  this  a  bad  day  to 
be  born? 

LOTTIE.  Oh — terrible — the  poor  souls  that's  born 
to-day  has  nothing  to  look  forward  to  but  sickness 
and  trouble  and  domestic  relations.  I've  got  my  list 
for  the  day — if  you'll  look  it  over. 

ANNABELLE.  Oh (Takes  list.)  Crab  meat, 

salmon  cutlet,  steak,  chops,  ducks,  fresh  figs,  olives 
— I  love  everything  on  it,  Lottie. 

LOTTIE.    Will  you  O.  K.  it  please? 

ANNABELLE.  (Taking  pencil  from  LOTTIE )  You 
haven't  forgotten  anything,  have  you,  Lottie — any 
blueing  or  nutmeg,  or  anything  like  that  ? 

LOTTIE.  There — I  do  need  a  nutmeg — what  a 
mind  you  have  on  your  work. 

ANNABELLE.     (Complacently)     Oh,  yes. 

LOTTIE.  I  knew  I'd  forgotten  something.  (As 
ANNABELLE  writes.) 

ANNABELLE.  Is  that  all  right?  Can  you  read  my 
writing?  (Gives  LOTTIE  list  and  pencil.) 

LOTTIE.    Oh,  yes — O  and  K  as  plain  as  can  be. 

ANNABELLE.  I  don't  suppose  Mr.  Wimbledon 
ever  comes  down  here  to  the  servants'  hall? 

LOTTIE.  Oh,  don't  he?  He's  down  here  raising 
Cain  half  of  the  time  when  he's  home. 

ANNABELLE.    When  he's  home?     Is  he  away? 

LOTTIE.  Yes,  thank  goodness,  he  is.  Gone  for  the 
summer.  That's  why  the  help's  all  off  on  a  picnic. 
All  but  me.  I  had  a  round  robbin  this  morning  ask 
ing  me  not  to  go.  When  I  go  it  always  rains. 


"GOOD  GRACIOUS  ANNABELLE"      55 
(Enter  JAMES  L.2,  crosses  to  R.  of  LOTTIE.J 

JAMES.    Well,  Lottie— still  here? 

LOTTIE.  I'm  just  fixing  cook's  tray.  (Hurriedly 
arranging  dishes  on  tray.)  I  must  hurry,  too,  be 
cause  I  have  me  work.  There  are  some  that  must 
work  and  others  that  get  paid  for  just  walking 
around.  (Eyes  JAMES  up  and  down.) 

JAMES.  In  the  cellar  window — Lottie — you'll  find 
something. 

LOTTIE.  (With  assurance  and  a  rising  inflection) 
In  the  cellar  window  ?  (Exits  R.I,  humming  "There's 
a  light  in  the  window  for  me."  JAMES  approaches 
ANNABELLE.  ) 

JAMES  (c.)  Well,  Annie — I  hope  your  break 
fast  is  satisfactory — if  it  isn't,  all  you've  to  do  is 
order  another. 

ANNABELLE.  (Seated  L.  of  table)  Thank  you, 
Mr.  Ludgate,  it  was  very  nice. 

JAMES.  I  didn't  tell  you  a  friend  of  Mr.  Wimble 
don  is  down  over  the  week  end,  maybe  longer. 

ANNABELLE.  Oh — does  Mr.  Wimbledon  enter 
tain  when  he's  not  here? 

JAMES.  Oh,  this  is  just  an  old  friend  of  Mr. 
Wimbledon's.  I've  not  even  opened  up  the  large 
dining-room  for  him.  I'm  eating  him  in  the  morn 
ing  room,  off  the  porch. 

ANNABELLE.    Good  gracious ! 

JAMES.  I  thought  about  teatime,  some  of  that 
cup  you  was  telling  about  would  taste  pretty  good — 
along  with  a  velvet  cake.  I'm  expecting  my  friend 
Wickham  down.  The  great  detective  from  the 
Hotel  St.  Swithin. 

ANNABELLE.  (Rising)  Detective — he  isn't  com 
ing  for — anything  special,  is  he,  Mr.  Ludgate? 

JAMES.  He  asked  me  if  he  could,  that's  all.  Oh, 
he's  very  interesting — I'll  introduce  you  to  him. 

ANNABELLE.    But  I  don't  want  to  meet  him,  Mr. 


56      "GOOD   GRACIOUS  ANNABELLE" 

Ludgate — promise  me  you  won't  introduce  him  to 
me 

JAMES.  Well,  I  won't — but  make  the  cup  very 
rich  for  him,  Annie. 

ANNABELLE.  Very  well,  Mr.  Ludgate.  (JAMES 
exits  L.2,  ANNABELLE  crosses  and  sits  R.C.J  Good 
gracious !  (Voices  off  hall  R.3. ) 

ALEC.    I  think  it  must  be  here,  sir. 

(Enter  ALEC  R.2,  followed  by  RAWSON.     RAWSON 
carries  a  fish.) 

RAWSON.    Oh,  no,  this  isn't  a  -kitchen. 

ALEC.  Well,  it's  the  the  kitchen  garden  outside — 
I  know  beans. 

RAWSON.  (Seeing  ANNABELLE,  who  rises)  I 
.beg  your  pardon — why,  it's  you ! 

ANNABELLE.    Why,  so  it  is. 

RAWSON.     I'm  awfully  glad  to  see  you. 

ANNABELLE.  What  a  wonderful  fish !  (RAWSON 
holds  up  fish.) 

RAWSON.     So  you're  visiting  here! 

ANNABELLE.  What  a  nice  face  it  has — I  mean 
for  a  fish. 

RAWSON.  (Turning  to  ALEC,  R.  of  him)  Alec, 
take  this  fish. 

ALEC.     (Taking  fish)    Where  shall  I  put  it,  sir? 

RAWSON.  Put  it  in  the  bay.  (ALEC  crosses  to 
L.C.J 

ANNABELLE.  Don't  put  it  in  the  bay  on  my  ac 
count. 

(Exit  ALEC  R.2.) 

RAWSON.  You  must  know  Mr.  Wimbledon  very 
well — to  visit  him  when  he's  away? 

ANNABELLE.  Yes,  well — I  think  you  see  enough 
of  people  when  you're  not  visiting  them,  don't  you  ? 


"GOOD  GRACIOUS  ANNABELLE"      57 

And  the  best  time  to  visit  them  is  when  they're 
away.  Where  are  you  stopping,  Mr.  Rawson? 

RAWSON.    Why,  I'm  staying  here. 

ANNABELLE.  Here?  Then  you  know  Mr.  Wim 
bledon  ? 

RAWSON.  No,  I  don't.  The  fact  is  I  wanted  to 
be  down  here  and  I  rented  the  place. 

ANNABELLE.    Of  Mr.  Wimbledon? 

RAWSON.  No,  I  made  an  arrangement  with  his 
butler. 

ANNABELLE.    Think  of  James  doing  that ! 

RAWSON.  Yes,  my  doing  it,  of  course,  is  quite 
to  be  expected,  but  I  can't  understand  if  James 
knew  you  were  coining. 

ANNABELLE.  (Ruffled)  He  didn't.  (Sits  Rj 
No — it  was  a  surprise  to  James — it  was  a  surprise 
to  us,  really — but  it  was  so  warm  in  town — and  we 
didn't  know  where  to  go — so  I  said,  why  not  come 
down  to  Old  Rook  Point — even  if  George  is  away. 

RAWSON.  (Relieved)  I  see.  Then  you're  not 
alone. 

ANNABELLE.  Oh,  no — all  the  people  you  met  yes 
terday  are  with  me.  Oh,  Mr.  Rawson — think  of 
my  forgetting  what  you  did. 

RAWSON.  Please  forget  it  if  it  was  anything  you 
didn't  like. 

ANNABELLE.    You  paid  for  my  lunch  party. 

RAWSON.  I  know — I  shouldn't  have  done  it,  of 
course — I  thought  of  that  afterwards. 

ANNABELLE.  I'm  so  glad  you  didn't  think  of  it 
before — I  mean — a  little  spontaneity  at  times  is  so 
refreshing — don't  you  think  so?  I'm  sorry  you  have 
to  go.  (Rises.) 

RAWSON.    So  am  I.     (Rises.) 

ANNABELLE.     If  Mr.  Wimbledon  were  only  here. 

RAWSON.    That  wouldn't  help  me  any. 

ANNABELLE.    Oh,  yes — he  would  ask  you  to  stay, 


58      "GOOD  GRACIOUS  ANNABELLE" 

I'm  sure — but  you  see,  I  can't  very  well.  (JAMES 
enters  L.2.) 

RAWSON.  Of  course  not — but  you  don't  mind  my 
having-  a  day's  fishing  ? 

ANNABELLE.  No,  indeed (JAMES  puts  de 
canters  and  glasses  on  tray  on  table  L.  and  goes 
L.C.; 

JAMES.  (Embarrassed  but  pompous)  Oh,  Mr. 
Rawson — you  know  where  you  are,  sir?  This  is 
the  servants'  hall. 

RAWSON.  Yes,  I  caught  a  fish  and  I  came  in  to 
see  the  cook  and  tell  her  how  I  wanted  it. 

JAMES.    You'll  attend  to  that,  won't  you,  Annie? 

ANNABELLE.  (Indignantly,  a  little  L.  of  him) 
What  do  you  mean  by  calling  me  Annie  ? 

JAMES.  I  beg  your  pardon.  I  keep  forgettin' — 
Mrs.  Pottlethwaite  will  see  that  the  fish  is  cooked 
to  suit. 

ANNABELLE.  Certainly  she  will.  (JAMES  exits 
with  dignity  L.2.)  Fancy  his  calling  me  Annie — of 
course  he  used  to,  when  I  was  a  child  playing  here 
with  George — but  that  was  ages  ago.  You'd  think 
he'd  know  better. 

RAWSON.  (R.C.J  Oh,  well,  an  old  family  serv 
ant — out  at  my  camp  the  man  that  cooks  for  me 
always  calls  me  John. 

ANNABELLE.  (Cheered)  Does  he  really?  That 
makes  me  feel  much  better.  (Enter  ALEC  L.2.J 

ALEC.  Two  gentlemen  to  see  Mrs.  Leigh — Mr. 
Gosling  and  Mr.  Murchison. 

ANNABELLE.  (Rising)  Oh,  dear,  you  didn't  tell 
them  I  was  here,  did  you  ?  I  can't  see  them — T  can't 
see  anybody. 

ALEC.  They've  followed  me  down.  (The  door 
opens  and  GOSLING  and  MURCHISON  enter  L.2.  into 
the  room.  Both  men  look  in  surprise  at  RAWSON  and 
ANNABELLE.J 

GOSLING.    Just  as  I  thought 


"GOOD  GRACIOUS  ANNABELLE"       59 

MURCHISON.  Annabelle!  What  is  the  meaning 
of  it  all? 

ANNABELLE.  Well,  really,  I  think  I'm  the  one 
to  ask  that — two  gentlemen  breaking  into  a  house 
where  they  haven't  been  invited. 

MURCHISON.  They  told  me  at  the  hotel  that  you 
left  in  Mr.  Wimbledon's  car. 

GOSLING.     (Seeing  MR.  RAWSON,)     Mr.  Rawson! 

RAWSON.     Good  morning. 

ANNABELLE.  You're  surprised  to  see  Mr.  Raw- 
son  here.  My  meeting  him  was  most  unexpected. 

GOSLING.    That's  what  you  said  yesterday. 

MURCHISON.  You  never  told  me  that  you  knew 
Mr.  Wimbledon. 

ANNABELLE.  Well,  it  doesn't  seem  to  give  you 
any  pleasure  now  that  you  know  it. 

GOSLING.  Have  you  asked  Mr.  Wimbledon  about 
your  stock  ? 

ANNABELLE.     No,  Mr.  Wimbledon's  not  here. 

GOSLING.    (Surprised)    Not  here? 

ANNABELLE.  No.  So  I  can't  do  anything  about 
it.  Of  course  when  I  see  him,  I'll  get  it  back. 
(Crosses  to  GOSLING.  GOSLING  retires  up  c.) 

MURCHISON.  I  don't  understand  your  being  here, 
Annabelle,  if  Wimbledon's  not  here. 

ANNABELLE.  (To  MURCHISON.  RAWSON  crosses 
up  R.C.  and  joins  GOSLIN  up  c.)  Well — would  you 
understand  it  if  he  were  here?  No — you  wouldn't 
like  that,  either — so  what's  the  use  trying  to  please 
people  ? 

MURCHISON.  Annabelle (Taking  her  aside 

L.)  You  have  just  broken  my  heart — I  had  every 
thing  all  arranged — but  it's  not  too  late.  .  .  .  (In 
tensely)  Come  with  me  out  to  East  Orange,  New 
Jersey.  Mrs.  Caruthers  lives  there  now — she  wants 
you — she's  one  of  those  women  that  understands. 

ANNABELLE.  (Impatiently)  Understands  why 
she  lives  in  East  Orange,  Harry  ?  No — I  shall  stay 


60      "GOOD   GRACIOUS  ANNABELLE" 

here  until  it's  all  over.  If  Ada  insists  on  having  a 
co-respondent,  she'll  have  to  find  another  one. 

MURCHISON.  I'm  ill (Sinking  in  chair  R. 

of  table  L.J 

ANNABELLE.  (Her  manner  changing)  Oh,  poor 
Harry!  What  is  it? 

MURCHISON.    It's  a  chill. 

ANNABELLE.  You  really  ought  to  have  them  at 
home,  Harry.  Because  you  see,  we  don't  really 
know  what  to  do  for  you — I  suppose  Ada  does. 

(LOTTIE  enters  R.I,  remains   near   door,    -front   of 
piano  R.C.    Seeing  MURCHISON.) 

LOTTIE.  What's  the  matter  with  him  ?  The  poor 
soul  looks  as  though  he's  going  to  drop  dead. 

ANNABELLE.     He's  got  a  chill.     (R.C.) 

MURCHISON.    Where's  the  kitchen  ? 

ANNABELLE.  It's  out  here,  Harry.  (Leads 
MURCHISON  R.cJ 

MURCHISON.  Let  me  get  to  the  fire.  Get  me  a 
blanket.  (R.iJ 

LOTTIE.  (R.)  I  can't  have  a  man  in  the  kitchen 
with  a  blanket — I  can't,  I  can't.  (MURCHISON  exits 
R.I.)  Oh!  He's  in — now  there's  a  man  in  the 
kitchen. 

(LOTTIE  exits  R.I.    RAWSON  goes  to  window  c.    AN 
NABELLE  crosses  R.  in  front  of  piano.) 

GOSLING.  (Down  R.cJ  Annabelle,  I  want  you 
to  return  to  the  city  with  me.  You  compromise 
yourself  by  staying  here. 

ANNABELLE.  (Starts  playing  piano.  Classical 
bit)  Well,  I'm  a  co-respondent,  Mr.  .Gosling  .  .  . 
and  if  there's  any  little  pleasure  to  be  gotten  out  of 
being  compromised,  I  shall  get  it. 

GOSLING.     We  will  take  the  twelve-five  back  to 


"GOOD  GRACIOUS  ANNABELLE"      61 

New  York.     I  will  be  outside  on  the  porch  waiting 
for  you.     (With  dignity  he  exits  R.2.) 

RAWSON.  (Crossing  to  ANNABELLE  at  piano) 
You  didn't  really  mean  it — about  being  a  co-re 
spondent  ? 

ANNABELLE.  (Stops  playing  and  faces  him)  Yes, 
Mr.  Rawson,  it's  true,  and  though  I'm  quiet  about  it, 
it's  not  because  I'm  used  to  it.  It's  most  unusual. 

'RAWSON.    Mr.  Murchison? 

ANNABELLE.  It's  so  ridiculous.  I'm  fond  of 
Harry,  but  he's  not  the  sort  of  man  at  all  that  I 
could  imagine  being  a  co-respondent  for. 

RAWSON.  (Believing  her  and  leaning  over  piano) 
Tell  me — haven't  you  .anyone  to  look  after  you? 

ANNABELLE.  Yes,  yes,  I  must  tell  you.  I  have 
a  husband  somewhere. 

RAWSON.  A  husband  so^newhere.  He  can't  be 
much  use  to  you. 

ANNABELLE.    Oh,  yes,  he's  helpful  at  times. 

RAWSON.    You  don't  know  where  he  is  ? 

ANNABELLE.    Not  exactly — but  near  enough. 

RAWSON.     1  see — you — you  don't  get  on. 

ANNABELLE.  Oh,  yes,  we  do — we  never  see  each 
other. 

RAWSON.  You  can't -tell  me  what  he  did — what 
particular  thing  he  did 

ANNABELLE.  Well,  he  wasn't  particular  about 
what  he  did,  Mr.  Rawson.  He  ruined  my  father 
in  the  first  place,  but  the  worst  thing  was  his  marry 
ing  me.  I  ran  away  from  him.  I've  never  seen  him 
since  the  night  I  spent  in  his  cave.  (Crosses  to  c. 
and  sits  L.  of  table.) 

RAWSON.    He  was  a  cave  man? 

ANNABELLE.  Yes,  they  called  him  the  Hermit — 
he  hadn't  any  name.  I  suppose  his  parents  ran 
away  from  him  when  he  was  a  baby.  He  probably 
frightened  them — though  he  hadn't  a  beard  then. 
The  only  thing  I  remember  about  him  was  his  beard 


62      "GOOD   GRACIOUS  ANNABELLE" 

— it  was  down  to  here — no,  to  here — and  I  suppose 
it's  been  growing  ever  since.  I  was  only  sixteen 
when  I  went  out  there,  Mr.  Rawson — you  see  there 
was  a  terrible  fight  about  a  mine — that  dreadful 
Hermit  stole  it  from  my  father. 

RAWSON.  But  how  could  he  do  that?  Those 
fellows  out  there  won't  stand  for  stealing  horses  or 
mines. 

ANNABELLE.  Oh,  yes,  they  will,  Mr.  Rawson. 
They  did,  his  friends  all  helped  him. 

RAWSON.  Do  you  remember  just  what  happened? 
(Sits.) 

ANNABELLE.  Do  I  remember?  The  howling, 
fighting  mob  breaking  into  our  log  house  and  the 
hermit  grabbing  me — "This  is  my  loot,  boys !" — 
that's  what  he  said — just  like  a  scene  in  the  movies. 

RAWSON.  But  they  didn't  kill  your  father,  and 
you  did  get  away? 

ANNABELLE.  No,  I  didn't — I  spent  the  night  in 
his  cave.  I  told  him  I  was  frightfully  compromised. 
He  said,  "What's  that?"  And  when  I  explained  he 
flew  into  a  rage  and  brought  in  a  terrible  man  and 
married  me. 

RAWSON.     Poor  child.     (Trying  not  to  smile.) 

ANNABELLE.  Yes,  and  the  worst  of  it  was — that 
after  he  married  me  he  wanted  me  to  stay  in  his 
cave.  He  begged  me  to — it  was  terrible — when  I 
close  my  eyes  I  see  him,  his  shaggy  face  quite  close 
to  mine,  his  glittering  eyes,  his  terrible  strong  hands 
— he  was  so  strong.  He  took  me  by  the  wrists  just 
for  a  moment. 

RAWSON.    But  then  he  let  you  go.     (Moved.) 

ANNABELLE.  Yes,  for  I  cried,  you  see — I  always 
cry  when  I'm  angry — he  thought  I  was  afraid. 

RAWSON.    Weren't  you? 

ANNABELLE.  I  don't  know — I  was  angry  first — I 
cried  and  cried  and  cried  until  he  put  me  right  out 


"GOOD  GRACIOUS  ANNABELLE"      63 

of  his  cave.     Wasn't  it  splendid  that  I  could  cry 
like  that? 

RAWSON.  Wasn't  it?  I'm  so  glad  you  did 
(Leans  over  a  little.) 

ANNABELLE.    Are  you  ? 

RAWSON.  Yes,  because,  though  it  was  horrible 
for  you,  it  wasn't  so  bad  as  it  might  have  been. 
(Ends  up  lamely  and  straightens  up.)  You  never 
thought  of  getting  a  divorce  from  him  ? 

ANNABELLE.  (Rising)  Well— just  lately— I 
have. 

RAWSON.    Oh !     (Goes  a  little  c.,  a  few  steps.) 

ANNABELLE.  Up  to  now  he's  been  rather  a  con 
venience.  Yes— if  it  hadn't  been  for  him,  I'd  have 
married  lots  of  people  I  didn't  care  for.  (Crosses 

L.C.; 

RAWSON.  (To  c.)  Then  he  has  been  of  some 
use — up  to  now.  But  now  there's  somebody  else — 
and  it  isn't  Murchison. 

ANNABELLE.  There  is  somebody  else  and  it  isn't 
Murchison. 

RAWSON.  (Thinking  of  WIMBLEDON,)  I  was  in- 
terested^  in  what  they  said  about  that  stock.  It's  a 
good  thing  someone's  got  it  you  can  trust. 

ANNABELLE.     Is  it? 

RAWSON.  You  know,  it  gives  Mr.  Wimbledon 
great  power. 

ANNABELLE.    You  mean — over  my  husband? 

RAWSON.  Well — over  anybody  that  wants  it.  I 
wouldn't  have  minded  getting  hold  of  it  myself. 

ANNABELLE.    You ! 

RAWSON.    Is  Wimbledon  the  man? 

ANNABELLE.  I  can't  tell  you,  Mr.  Rawson  .  .  . 
and  there's  only  a  tiny — oh,  the  smallest  imaginable 
chance  that  you'll  ever  know — who  the  man  is. 
f  ANNABELLE  exits  L.I.) 

RAWSON.  (Looking  after  her,  as  if  trying  to  re 
member  something,  then  remembers  and  smiles  a 


64      "GOOD  GRACIOUS  ANNABELLE" 

little.)    Hope !        (He  lights  cigar  and  goes  thought- 
fully  out  into  the  garden  R.2  window.) 

LOTTIE.  (Entering  R.I)  Hope!  (Hears  RAW- 
SON  and  repeats  after  his  exit.  She  takes  ANNA- 
BELLE'S  tray  from  table  L.C.  and  exits  L.) 

(Enter  JAMES  L.2,  crosses  to  c.) 

JAMES.     (Agitated)     My  Gawd! 

LOTTIE.     What's  the  matter? 

JAMES.    Mr.  Wimbledon's  back. 

LOTTIE.  What  do  I  care?  I'd  just  as  leave  go 
to-day  as  to-morrow,  and  rather. 

JAMES.  But  it  means  ruin — don't  you  understand 
me?  (Paces  to  R.cJ 

LOTTIE.  (Crossing  to  him  with  tray)  Why  be 
faint-hearted,  Mr.  Ludgate? — courage  is  given  to  all 
alike.  I'm  not  afraid,  and  I'm  only  a  bendin'  reed, 
while  you're  a  sturdy  oak,  Mr.  Ludgate. 

WIMBLEDON.    (Off  1^.3)    James! 

JAMES.  Will  I  answer  of  won't  I  ?  (Crosses  c,., 
agitated  face  L-3. ) 

LOTTIE.  (R.C.)  Don't  answer  till  you  have  to — 
he's  coming  down  the  stairs.  It  makes  no  difference 
to  me — one  day's  as  good  as  another — an'  I  was  go 
ing  anyway.  (Exit  LOTTIE  R.I  with  tray.) 

WIMBLEDON.  (Slightly  intoxicated  as  usual) 
James !  (Enters  L.2.) 

JAMES,    (c.)    Yes,  sir 

WIMBLEDON.    Why  didn't  you  answer  me? 

JAMES.    I  didn't  hear  you,  sir. 

WIMBLEDON.  I  see  you're  entertaining  your 
friends,  as  usual. 

JAMES.     I  don't  understand  you,  sir. 

WIMBLEDON.  That  old  man  on  the  west  porch  in 
the  wicker  chair — who's  he? 

JAMES.     I  don't  know,  sir — probably  one  of  the 


"GOOD  GRACIOUS  ANNABELLE"      65 

neighbors — stopped    in,    knowing   you    were   away, 
(With  cutting  emphasis.) 

WIMBLEDON.  Well  he'll  know  enough  to  take  his 
feet  in  the  next  time  I  go  by. 

JAMES.    Yes,  sir. 

WIMBLEDON.  Who's  that  big  husky,  smoking  the 
cigar,  on  the  lawn? 

JAMES.  (Nervously)  That,  sir?  Why,  he— er 
— he's  the  man  I  engaged  for  the  new  Captain  of 
the  Bluebell— but  I'll  see  him,  sir— I'll  tell  him  he 
don't  suit.  (Crosses  and  starts  off  L.$.) 

WIMBLEDON.  Stay  where  you  are — how  do  you 
know  he  don't  suit?  He  looks  as  though  he  could 
lick  the  whole  crew,  and  that's  wnat  they  need. 

JAMES.    Yes,  sir. 

WIMBLEDON.    That's  what  everybody  needs. 

JAMES.     Yes,  sir. 

WIMBLEDON.  And  I'm  the  fellow  to  do  it— I 
could  lick  the  world  to-day — I'm  only  just  looking 
around  to  see  where  to  begin.  Surprised  to  see  me, 
aren't  you? 

JAMES.    Well,  yes,  sir,  a  little.     (Crosses  L.) 

WIMBLEDON.  I  couldn't  go  and  leave  my  business 
now. 

JAMES.    I'm  very  sorry,  sir. 

WIMBLEDON.  I've  got  to  register  my  stock  before 
I  can  go. 

JAMES.    Well,  sir,  why  don't  you,  sir  ? 

WIMBLEDON.  Because  I  only  just  thought  of  it, 
— why  didn't  you  tell  me? 

JAMES.    I  didn't  know  it,  sir. 

WIMBLEDON.  Don't  you  know  anything?  Why 
don't  you  read  the  papers  ?  Why  didn't  you  tell  me 
this  fellow  Rawson  was  in  town? 

JAMES.     I  didn't  know  you  knew  him,  sir. 

WIMBLEDON.  I  don't  know  him — but  he's  come 
on  here  to  break  me — and  I'm  going  to  break  him — 
do  you  believe  I  can  do  it? 


66      "GOOD  GRACIOUS  ANNABELLE" 

JAMES.  (Affecting  ennui)  Very  likely,  sir — I 
don't  know  really. 

WIMBLEDON.  Do  you  believe  I  can  do  it?  Like 

this  I  can  do  it (Takes  dish  from  table  and 

throws  it  on  the  floor.)  It's  easy  like  this 

(Enter  LOTTIE  R.I.J 

LOTTIE.  (Becoming  interested)  He's  home  again. 
Go  to  it — I'll  get  you  the  other  set  when  you  finish 
with  that. 

(Enter  ANNABELLE  L.iJ 

ANNABELLE.  Lottie,  haven't  you  been  a  little 
careless  with  the  willow  ware? 

LOTTIE.  No — it  was  him — showing  what  he'd  do 
to  a  friend  of  his.  (Exits  R.i.J 

WIMBLEDON.  (Down  right  of  table,  arranging  tie 
and  hair,  pleased  at  seeing  ANNABELLE,)  Who  are 
you? 

JAMES.  (Back  of  L.  table)  Oh,  Mr.  Wimbledon, 
this,  sir,  is  the  new  cook — Mrs.  Postlethwaite. 

WIMBLEDON.  Oh — well,  that's  too  much  to  start 
with — what  do  people  call  you?  (Crosses  JAMES  to 

L.C.) 

ANNABELLE.    That  depends,  sir. 

JAMES.    Annie  is  her  first  name,  sir. 

WIMBLEDON.  Well,  Annie,  why  were  you  dis 
missed  from  your  last  place? 

ANNABELLE.    I  wasn't  dismissed,  sir 

WIMBLEDON.  That's  what  they  all  say.  Where 
are  your  references  ? 

ANNABELLE.    Do  you  want  to  see  them,  sir? 

WIMBLEDON.    Yes. 

ANNABELLE.  (To  JAMESJ  Well,  why  don't  you 
show  them  to  him? 

JAMES.    I? 


"GOOD  GRACIOUS  ANNABELLE"      67 

ANNABELLE.  Yes,  where  are  they?  You  don't 
mean  to  say  you've  lost  them? 

JAMES.    Why,  no — I  can't  have  lost  them. 

ANNABELLE.  I  said  to  myself  after  I  gave  them 
to  you  that  I  should  never  have  done  it — a  girl 
should  never  let  her  references  out  of  her  hand. 

WIMBLEDON.  Of  course  not.  (To  JAMES,)  Send 
those  other  servants  here. 

(Exit  JAMES  right  2.    Mops  brow  with  handkerchief 
and  is  glad  to  get  away.) 

ANNABELLE.  But  I  can  remember  them,  sir.  My 
last  place  was  with  the  Colton  Morrissons  .  .  . 

WIMBLEDON.  I  know  them  very  well.  They  live 
in  Tarrytown. 

ANNABELLE.  Not  my  Colton  Morrissons,  sir, 
they  live  in  Pittsburg. 

WIMBLEDON.     Well,  why  did  you  leave  them? 

ANNABELLE.  Well,  sir,  the  daughter  Irmengard 
ran  away  with  the  chauffeur  and  the  father  and 
mother  were  divorced — and  I  couldn't  make  up  my 
mind  which  part  of  the  family  to  stay  with. 

WIMBLEDON.    Oh,  I  see. 

(Enter  JAMES  with  JENNINGS,  ALFRED  and  GWEN 
and  ETHEL  R.2.) 

JAMES.  Here  they  are,  sir !  (Indicating  ALFRED. ) 
The  new  chauffeur,  sir. 

ALFRED.     Ronald — I  mean  Mackinninny. 

WIMBLEDON.    Which? 

JAMES.    He  gave  his  name  as  Mackinninny. 

WIMBLEDON.  I'll  bet  you've  worked  in  a  Ronald 
on  me.  (To  ALFRED)  Have  you  a  reference? 

ALFRED.  Why,  I've  driven  the  Weatherbys  for 
years.  He'll  be  glad  to  tell  you  all  about  me. 

WIMBLEDON.    I  wouldn't  ask  him,  the  old  crook ! 


68      "GOOD   GRACIOUS  ANNABELLE" 

JAMES.  (Indicating  JENNINGS,)  The  new  gar 
dener,  Mr.  Wimbledon. 

WIMBLEDON.  (To  JENNINGS,)  What's  your 
name? 

JENNINGS.  (Nervously)  Oh,  Alonzo — Alonzo 
Jennings. 

WIMBLEDON.  Alonzo  Jennings.  Well,  I  hope 
you're  a  better  gardener  than  Legget.  Where  are 
your  references? 

JENNINGS.  (Pulling  up  smock  and  feeling  in  his 
pocket)  I  thought  I  had  a  few  of  them  in  here — 
but  I  guess  I  must  have  left  them  in  my  other  coat. 

ANNABELLE.  You'd  hardly  think  it  was  necessary 
for  the  man  who  brought  out  the  Albino  Chrysan 
themum  to  have  credentials. 

WIMBLEDON.     Did  you  do  that? 

JENNINGS.  (With  a  great  ful  look  at  ANNABELLEJ 
I  did — though  I  hardly  realized  it  at  the  time. 

WIMBLEDON.  I  don't  realize  it  now — never  heard 
of  an  Albino  Chrysanthemum. 

ANNABELLE.  You  don't  go  to  the  Grand  Central 
Flower  Show,  do  you? 

WIMBLEDON.  Never  go  to  the  Grand  Central  ex 
cept  to  catch  a  train. 

ANNABELLE.  Well,  of  course,  then  you  wouldn't 
know  the  tremendous  enthusiasm  over  Mr.  Jen 
nings'  exhibit. 

WIMBLEDON.     But  I'm  thinking  of  vegetables. 

ANNABELLE.  Well,  of  course,  Mr.  Jennings' 
Giant  Lima  Bean  was  the  sensation  of  the  hour  at 
the  County  Fair  in  Usquepaug. 

WIMBLEDON.  You  seem  to  know  a  lot  about  Mr. 
Jennings. 

ANNABELLE.  Yes,  sir — we  have  corresponded 
through  the  Hardy  Servant's  Manual  and  then  at 
one  time  he  worked  for  the  Colton-Morrissons. 

WIMBLEDON.  (Severely)  Ha!  You  use  the  Bell 
System,  do  you,  Jennings  ? 


"GOOD  GRACIOUS  ANNABELLE"      69 

JENNINGS.  Oh,  yes,  rather,  there's  nothing  like 
a  bell  for  getting  young  plants  up. 

WIMBLEDON.  You  understand  ensilage  thorough 
ly?  What  do  you  think  about  it? 

JENNINGS.  Well,  I  think  it  can  be  prevented  by 
spraying  early  in  the  Spring. 

WIMBLEDON.  Don't  you  know  it's  a  system  of 
fertilizing  ? 

ANNABELLE.  Maybe  it's  only  in  England  that  it 
means  the  Enslebug. 

WIMBLEDON.     What's  that? 

ANNABELLE.  It's  an  insect  that  attacks  young 
fruit  trees  in  the  Spring,  isn't  it,  Mr.  Jennings  ? 

JENNINGS.    Yes,  it's  a  sort  of  winged  ant. 

WIMBLEDON.  A  winged  grandmother.  I  can  see 
I'll  learn  a  lot  from  you,  Jennings.  I  shall  look  up 
the  enslebug  in  the  Enslepedia — ( Drunk enly) — En 
cyclopedia  Brittanica. 

JAMES.  (Introducing  ETHEL,)  New  cook's  help 
er,  Mr.  Wimbledon. 

WIMBLEDON.     Name? 

ETHEL.    Lizzie — Lizzie  McQuade. 

WIMBLEDON.  I  never  saw  a  cook's  helper  that 
didn't  look  as  cross  as  the  devil.  What's  the  reason 
of  that,  Lizzie? 

ETHEL.  (With  dignity)  I  really  couldn't  tell  you, 
Mr.  Wimbledon. 

WIMBLELON.    Why  not?    Is  it  a  secret? 

JAMES.    The  new  parlor  maid,  sir. 

WIMBLEDON.     Name? 

GWENDOLEN.    Maggie,  sir. 

WIMBLEDON.    No  last  name  at  all? 

GWENDOLEN.    Maggie  Maloney,  sir. 

WIMBLEDON.    Alliterative,  aren't  you,  Maggie? 

GWENDOLEN.  Yes,  sir — but  I've  done  a  most 
dreadful  thing. 

WIMBLEDON.    Already? 

GWENDOLEN.    That  most  beautiful  plate — the  one 


70      "GOOD  GRACIOUS  ANNABELLE" 

with  the  green  band  and  the  apricots — came  right 
to  pieces  in  my  hands. 

JAMES.  (Raising  his  hands  in  horror)  Oh,  Mag 
gie  !  After  me  telling  you  about  the  Severs ! 

WIMBLEDON.     Shut  up,  I  broke  the  plate  myself. 

JAMES.     I  don't  remember  it,  sir. 

WIMBLEDON.  Why  should  you?  I  threw  it  at 
someone  else.  Well,  you  can  all  go — I  don't  mean 
you're  discharged — that  will  probably  come  later. 
James,  send  in  the  new  Captain  of  the  Bluebell. 
(Exit  all  but  ANNABELLE  R.2.,  JAMES  last.)  You 
needn't  go  out,  Annie.  Stick  around.  I  like  to 
have  you. 

ANNABELLE.  Yes,  sir — I'll  just  get  the  broom  and 
sweep  up  your  friend. 

(Exit  ANNABELLE   L.I.     Enter  LOTTIE  R.I,   MUR- 

CHISON  R.I.J 

LOTTIE.  I  think  you'll  be  all  right— now  I  should 
repeat  the  ginger  before  going  to  bed. 

WIMBLEDON.     Well,  Lottie — who's  this? 

LOTTIE.  (To  c.)  I  don't  know  his  name,  but 
he's  a  perfect  gentleman— he's  been  having  a  chill 
in  the  kitchen. 

WIMBLEDON.  (Stares  at  MURCHISON.  LOTTIE 
goes  L.cJ  He  has,  has  he?  I  knew  you  had  your 
faults,  but  I  didn't  know  a  chill  in  the  kitchen  was 
one  of  them. 

LOTTIE,  (c.)  As  to  that,  I'm  a  good  girl  and  an 
honest  girl,  and  I  reply  to  any  slurs  on  my  character 
that  I'd  jus'  as  lieve  go  to-day  as  to-morrow. 

MURCHISON.  (K.C.)  I  beg  your  pardon— Mr. 
Wimbledon— you're  quite  wrong  in  supposing  that 
I  went  into  the  kitchen  for  any  other  reason  than 
because  I  had  a  chill. 

WIMBLEDON.  (L.C.)  Oh,  how  did  you  happen  to 
have  it  here? 


"GOOD  GRACIOUS  ANNABELLE"      71 

MURCHISON.  I  came  down  here  hoping  to  find — 

that  I  was  mistaken — hoping  to  find (About  to 

break  down.  Sinks  into  chair  R.c.J 

WIMBLEDON.  Mistaken  about  what?  The  man's 
sick — give  him  something. 

LOTTIE.  (Who  has  been  taking  a  nip  out  of  bottle 
she  carries  unseen,  indignantly  and  quickly  conceals 
bottle  in  pocket)  How  should  you  think  I  have  any 
thing  to  give  him  but  ginger  tea — (Angrily) — it's 
nothing  but  suspicion  and  words  being  passed  until 
a  poor  girl  feels  she  might  as  well  have  lost  her 
reputation  as  to  be  what  she  is — an  honest,  hard 
working— — 

WIMBLEDON.  (Going  to  her)  Oh,  shut  up — get 
me  a  corkscrew — you've  got  one  in  your  hair  some 
where,  haven't  you  ?  I  see  there  are  plenty  of  bottles 
about. 

LOTTIE.  Not  mine,  sir — those  must  be  for  the 
new  cook.  (Exit  LOTTIE  R.I  J 

MURCHISON.  Don't  bother  about  me,  Mr.  Wim 
bledon —  (Rises.) 

(Enter  ANNABELLE  with  broom  and  dustpan,  which 
she  holds  behind  her  on  seeing  MuRcmsoN.J 

WIMBLEDON.  (Going  L.cJ  Come  on,  Annie — 
come  in,  sweep  away — you  won't  disturb  anybody. 

ANNABELLE.  (L.J  I  suppose  it's  silly  of  me — 
but  I'm  afraid  to  let  anyone  else  sweep  up  broken 
china 

MURCHISON.    Annie !    He  calls  her  Annie ! 

WIMBLEDON.  fL.c.J  This  gentleman  has  done  me 
the  honor  to  have  a  chill  in  my  kitchen — he's  not 
told  me  yet  how  he  happened  in (Goes  a  lit 
tle  c.) 

MURCHISON.  (Bursting  forth  miserably)  I  came 
down  to  see  her — and  I'm  not  ashamed  to  say  it 
before  the  whole  world!  (Crosses  to  ANNABELLE,) 


72      "GOOD  GRACIOUS  ANNABELLE" 

You  told  me  he  wasn't  here — and  here  he  is — calling 
you  Annie.  I  always  wanted  to — and  you  never 
would  let  me. 

ANNABELLE.  Do  go  out  into  the  garden,  please — 
and  control  yourself. 

MURCHISON.  You're  not  going  to  stay  here?  Say 
you're  not ! 

ANNABELLE.  I  will  meet  you  at  the  Lodge  at  four 
— that's  the  best  I  can  promise  you. 

MURCHISON.  But  I  can't  leave  you  like  this, 
sweeping  up  his  broken  china.  (Glances  at  WIM 
BLEDON.  )  It  seems  so  domestic — I  can't  stand  it — 
I  can't  stand  it — I  can't  stand  it!  (Exit  R.2.J 

(ANNABELLE  sweeps  up  china  on  floor  L.c.j 

WIMBLEDON.    (To  L.cJ    Annie,  who  is  that  man  ? 

ANNABELLE.  That — that,  ahem — is  my  former 
employer,  Mr.  Colton  Morrisson. 

WIMBLEDON.  Annie,  you  certainly  must  have 
cooked  some  in  Pittsburg! 

ANNABELLE.  (Shyly)  Well,  yes,  sir — I  did  my 
best. 

WIMBLEDON.  Mr.  Colton — Morrisson  seems  to 
think  so.  How  about  Mrs.  Colton  Morrisson? 

ANNABELLE.  She  certainly  liked  my  lemon  me 
ringue. 

WIMBLEDON.  She  liked  your  lemon  meringue 
better  than  Mr.  Colton  Morrisson? 

ANNABELLE.    Oh,  no — he  liked  it,  too. 

WIMBLEDON.  What  did  he  use  to  call  you,  An 
nie? 

ANNABELLE.    Mrs.  Postlethwaite — always. 

WIMBLEDON.  You  won't  'make  me  do  that,  will 
you,  Annie? 

ANNABELLE.    Not  if  it's  hard  for  you,  sir. 

WIMBLEDON.  Hard,  it's  impossible — it  isn't  once 
a  year  that  I  am  in  a  condition  where  I  can  say  a 


"GOOD  GRACIOUS  ANNABELLE"      73 

name  like  that.  The  day  after  New  Years  at  about 
four  o'clock  in  the  afternoon — come  around  then, 
and  maybe  I  can  do  it — but  I  won't  promise. 

ANNABELLE.    Well,  you  needn't. 

WIMBLEDON.  I  don't  want  you  to  meet  Colton 
Morrisson  at  the  Lodge,  Annie — that's  a  low-down 
trick  to  play  a  man — come  and  try  to  steal  his  cook — 
you  know  you  don't  look  like  a  cook,  my  dear. 

ANNABELLE.  No — but  if  I  cook  like  one,  what's 
the  difference  ? 

WIMBLEDON.  You've  got  a  pretty  arm  and  hand, 
do  you  know  it? 

ANNABELLE.  It's  strong — that's  the  best  of  it. 
(Looking  critically  at  her  hand.) 

WIMBLEDON.     (Insinuatingly)     Give  it  to  me. 

ANNABELLE.    I  certainly  will,  if  it's  necessary! 

WIMBLEDON.  Well,  it  isn't  necessary — but  I 
thought  it  might  be  pleasant.  (WIMBLEDON  bursts 
into  a  convulsion  of  laughter.  Goes  a  step  c.) 

ANNABELLE.    What  is  it,  Mr.  Wimbledon? 

WIMBLEDON.  I  can't  help  laughing.  (Takes 
stock  from  pocket.)  Look  at  that,  Annie — does  that 
look  like  a  million  ? 

ANNABELLE.  Do  let  me  see,  sir — I  never  saw  a 
million ! 

WIMBLEDON.  A  million — it's  worth  more  than 
that — two  shares  of  the  greatest  stock  in  the  world, 
Annie ! 

ANNABELLE.  (Peeping  up)  Do  let  me  hold  it  in 
my  hand  a  minute,  sir.  (Takes  stock.)  Why,  it's 
just  papers ! 

WIMBLEDON.  (Taking  it  back)  That's  all.  (Puts 
it  back  in  his  pocket.  WIMBLEDON,  as  he  takes  the 
envelope,  puts  his  hand  over  hers.)  Your  hand 
feels  just  the  way  I  thought  it  would. 

ANNABELLE.  I  don't  think  you've  got  a  real  idea 
of  it,  yet. 


74      "GOOD  GRACIOUS  ANNABELLE" 

WIMBLEDON.  How  do  you  keep  your  hands  so 
soft  working  around  a  kitchen  all  day  ? 

ANNABELLE.  I  don't.  I  keep  them  soft  in  gloves 
at  night,  sir. 

WIMBLEDON.  (Curiously — not  disrespectfully — 
puts  his  forefinger  on  her  wrist  and  moves  it  up  in 
a  straight  line.)  You  must  wear  sixteen-button 
gloves,  Annie,  for  the  softness  doesn't  stop  at  the 
wrist ! 

ANNABELLE.  Why,  really,  sir,  you  mustn't  go  on 
like  this.  Remember  where  you  are,  and  that  you're 
talking  to  a  respectable  working  girl — not  a  lady ! 

WIMBLEDON.  How  can  I  remember — you've  got 
Coty's  jasmine  on  you,  too,  Annie — don't  deny  it. 

(Enter  ALEC  L.2.) 

ALEC.  (To  ANNABELLE)  Mr.  Rawson's  compli 
ments,  and  he'll  be  down  in  a  minute. 

WIMBLEDON.  Whose  compliments?  (JAMES  en 
ters  R.2.J 

ALEC.    Why,  how-de-do,  Mr.  Wimbledon? 

WIMBLEDON.  What  are  you  doing  down  here, 
Alec? 

ALEC.  (Crossing  to  him)  I'm  here  with  Mr. 
Rawson.  ( ANNIE *goes  R.  of  L.C.  table.) 

WIMBLEDON.     Rawson?     What  Rawson? 

ALEC.    The  Montana  millionaire,  sir. 

WIMBLEDON.    You  don't  mean  to  say  he's  here? 

ALEC.     Why,  yes,  sir. 

WIMBLEDON.  What's  he  doing  here — in  my  house  ? 

ALEC.    Why,  he's  rented  it  for  the  summer,  sir. 

WIMBLEDON.     What? 

JAMES.  (R.  Agonised)  There's  some  mistake, 
sir. 

WIMBLEDON.  (Going  to  JAMES)  Where  is  he — 
that's  all — where  is  the  mistake? 


"GOOD  GRACIOUS  ANNABELLE"      75 

JAMES.  (Trembling)  He's  the  gentleman  on  the 
porch,  sir — in  the  wicker-rocker. 

WIMBLEDON.    He  is,  is  he (Dashes  off  R.2.) 

ANNABELLE.     Good  gracious!     (Enter  RAWSON 

L.2.; 

RAWSON.     What's*  the  trouble? 

JAMES.  Mr.  Rawson,  there's  a  most  unfortunate 
thing  has  happened,  sir.  Mr.  Wimbledon  is  back, 
and — we — he's  in  a  frightful  state,  sir. 

RAWSON.    (c.)    What's  the  matter  with  him? 

JAMES.  CR.C.  Apologetically  and  rattled)  I  hope 
you  won't  mind,  sir — just  to  keep  him  quiet,  I  told 
him  you  was  Captain  of  the  Bluebell 

RAWSON.  You !  You  don't  know  how  good  that 
is,  James.  John  Rawson  working  for  George  Wim 
bledon!  Now,  don't  give  me  away.  Don't  call  me 
Mr.  Rawson. 

ALEC.    What  shall  I  call  you,  sir? 

RAWSON.    Call  me  John. 

ALEC.    All  right,  John.    (Exits  L.2.) 

JAMES.  Thank  you,  sir.  If  you  could  just  humor 
him,  sir,  till  I  can  get  him  off.  (Exits  L.2.) 

(Enter  GOSLING  R.2,  followed  by  JENNINGS.     GOS 
LING  crosses  to  L.C.    JENNINGS  comes  u.c.J 

ANNABELLE.    Good  gracious — what's  the  matter? 

GOSLING.  (Dripping  wet,  returns  c.)  I  have  been 
attacked  by  a  mad  man — and  on  top  of  that,  this 
fellow  turns  the  hose  on  me ! 

JENNINGS.  (Explaining)  I  did  it  to  save  your 
life — I'm  sorry 

GOSLING.  Look  out,  here  he  comes !  (Sees  WIM 
BLEDON  R.2.  and  exits  hastily  L.2.) 

WIMBLEDON.  Damn  it  all!  Where's  the  fellow 
with  the  hose  ? 

JENNINGS.  Here  I  am,  Mr.  Wimbledon — I'm 
awfully  sorry. 


76      "GOOD  GRACIOUS  ANNABELLE" 

WIMBLEDON.  (Angrily)  You're  the  busiest  gar- 
dner  I've  had  in  some  time.  You're  discharged ! 

JENNINGS.     Of  course.     (Exits.  L.3J 

WIMBLEDON.  (Going  to  RAWSON  R.C.)  Captain, 
I'll  see  you  in  a  minute.  Stick  around. 

RAWSON.  (Crosses  L.C.  Half  to  ANNABELLE  on 
way  up  to  L.3.J  I'll  be  right  outside.  (Exits  L.3.J 

ANNABELLE.  (As  WIMBLEDON  takes  off  coat, 
crosses  to  him)  Let  me  take  your  coat — I'll  dry  it 
for  you  in  the  kitchen.  (ANNABELLE  starts  to  exit 
R.I.  WIMBLEDON  suddenly  remembers  about  stock. 
Calls  ANNABELLE,  zvho  stops.  He  goes  over  and 
gets  stock  from  coat  pocket.  ANNABELLE  exits  R.I.,) 

WIMBLEDON.  (Expeditiously  opens  bottle  and 
pours  himself  a  drink  at  table  L.)  Now  I  have  to 
do  this  all  over  again. 

(ANNABELLE  comes  back  immediately.) 

ANNABELLE.  (c.)  It'll  soon  be  dry — and  I'll 
press  it  for  you  myself. 

WIMBLEDON.  And  a  deuced  lucky  coat  to  be 
pressed  by  you! 

ANNABELLE.     Law,  sir — what  things  you  do  say. 

WIMBLEDON.  Well,  that's  nothing  to  what  I'll 
say  before  I  get  through. 

ANNABELLE.  Do  be  careful,  sir — I  wouldn't  like 
to  lose  my  place  on  account  of  anything  you  might 
say. 

WIMBLEDON.  Ha,  ha,  you  amuse  me,  Annie — 
upon  my  word  you  do — it  only  goes  to  show,  my 
dear,  that  there  are  some  people  we  meet  socially 
we  should  never  meet  except  as  cooks — and  some 
cooks  whom  it  would — be  a  pleasure  to  meet  so 
cially — do  you  follow  me? 

ANNABELLE.    Where,  sir? 

WIMBLEDON.    A  little  trip  on  the  yacht. 

ANNABELLE.    I  couldn't  very  well  go  to-day. 


"GOOD  GRACIOUS  ANNABELLE"      77 

WIMBLEDON.  Couldn't?  There's  no  such  word. 
If  you  want  to  do  a  thing,  you  just  do  it — don't  you 
know  that? 

ANNABELLE.  You  just  do  it — but  I  don't.  Mr. 
Wimbledon,  you  must  think  me  a  very  strange 
cook 

WIMBLEDON.  They're  all  strange,  if  you  ask  me. 
I  think  you're  a  dashed  good-looker! 

ANNABELLE.  Don't  you  get  the  idea  that  I  may 
have  seen  better  days? 

WIMBLEDON.  No.  You  never  saw  a  better  day 
in  your  life  than  this — and  I  never  did! 

ANNABELLE.  Mr.  Wimbledon,  I've  got  something 
on  my  mind. 

WIMBLEDON.    Have  you? 

ANNABELLE.  Yes — I'm — I'm  really  in  need  of 
money. 

WIMBLEDON.  Well — that's  the  easiest  thing  in  the 
world  to  get. 

ANNABELLE.  I  know — but  I  don't  like  to  kill 
anybody ! 

WIMBLEDON.  Well — everyone  that  I  know  that 
needs  money — they — why — they  ask  me  for  it — and 
that's  all  there  is  to  it. 

ANNABELLE.  Oh,  Mr.  Wimbledon — but  I  couldn't. 
It's  a  terrible  amount 

WIMBLEDON.     Is  it? 

ANNABELLE.     Yes — it's — seven  hundred  dollars! 

WIMBLEDON.  Annie,  you're  no  piker — have  you 
been  speculating  in  stocks? 

ANNABELLE.  That's  just  it — it's  to  save  some 
I've  got 

WIMBLEDON.     Maybe  it  isn't  any  good? 

ANNABELLE.  Oh,  but  it  is,  sir — that's  the  worst 
of  it.  It'll  just  make  a  difference  in  my  whole  life 
to  get  it. 

WIMBLEDON.     Is  there  any  hurry? 

ANNABELLE.     Oh,  yes — there's  every  hurry 


78      "GOOD  GRACIOUS  ANNABELLE" 

WIMBLEDON.  Mr.  Colton  Morrisson  tipped  you 
off,  I  suppose? 

ANNABELLE.    Yes,  sir. 

WIMBLEDON.  Well,  if  I  stake  you  to  it — you're 
going  to  owe  me  an  awful  lot — Annie ! 

ANNABELLE.  Oh,  yes — but  I'll  work  it  off,  you 
see,  sir. 

WIMBLEDON.  Well,  I  don't  want  you  to  work  too 
hard.  But  it's  a  lot  of  money 

ANNABELLE.    I  know  it — I  should  say  so 

WIMBLEDON.  (With  meaning)  And  you'll  pay? 
(ANNABELLE  nods.  He  takes  wads  of  bills  out  of 
each  pocket.  Just  a  little  loose  change  I  won  on  the 
wheel  last  night,  Annie.  They  shouldn't  let  a  man 
play  when  he's  drunk — Annie.  It  isn't  right.  I 
won  eight  thousand  dollars — that's  terrible.  Poor 
old  Feltman  was  crying  when  I  left — you  don't  know 
Feltman,  do  you,  Annie  ?  He's  very  funny  when  he 
cries.  There's  one — one — and  there's  five — that's 
seven  hundred. 

ANNABELLE.  (Sighs)  Now  I'll  go  and  press 
your  coat.  (Exits  R.i.j 

WIMBLEDON.  Some  cook!  (Going  to  door. 
RAWSON  crosses  down  c.  WIMBLEDON  down  L  c.) 
Come  in,  Captain — sit  down — what's  your  name? 

RAWSON.  (Down  L.C.,  entering  L.2.J  My  name 
is  John. 

WIMBLEDON.  Well,  John,  I  don't  mind  saying 
I've  taken  a  fancy  to  you.  (WIMBLEDON  sits  L.  of 
table,  RAWSON  R.J 

RAWSON.    That's  good. 

WIMBLEDON.  Have  a  drink?  (Pours  out  drink.) 
I'm  going  to  tell  you  something.  There's  a  fellow 
here  in  this  house,  named  Rawson,  I'd  like  to  kill. 
But  I  can't  do  that — going  to  take  him  out  on  the 
Bluebell — and  entertain  him  for  a  few  days. 

RAWSON.    I  see ! 

WIMBLEDON.     You   don't — but  you    will — about 


"GOOD  GRACIOUS  ANNABELLE"      79 

three  miles  south  of  this  point  is  a  place  called  the 
Raps.  I'll  anchor  out  there  and  let  him  rock ! 

RAWSON.    Do  you  want  me  to  go  with  him? 

WIMBLEDON.  No,  John — I  like  you  too  well — 
even  the  sailors  can't  stand  it  out  there.  (Both 
drink.) 

RAWSON.    What  have  you  got  against  this  man  ? 

WIMBLEDON.  He's  one  of  a  gang  that  pretty 
nearly  ruined  my  father — John! 

RAWSON.    Yes? 

WIMBLEDON.  He's  a  quiet  fellow,  they  say — but 
I've  got  something  here  that'll  make  him  yell ! 

RAWSON.    Have  you? 

(WIMBLEDON  takes  stock  from  table  and  beats  table 
with  it.  At  word  "licked"  it  falls  from  his 
hand  to  the  floor.  RAWSON  picks  up  stock. 
WIMBLEDON  reaches  over  and  gets  stock  from 
RAWSON  without  apparently  looking  at  it.) 

WIMBLEDON.  Two  shares  of  stock  that  give  con 
trol  of  the  mine  the  fight  was  about.  Here  it  is — 

licked 1  Have  a  drink,  John.  I'm  almost  sorry 

for  the  poor  damned  fool (Filling  glass.) 

RAWSON.    Oh,  well,  I  wouldn't  be  sorry  for  him. 

WIMBLEDON.  (Laughing)  No,  I  wouldn't, 
either,  but  I  can't  help  it,  the  poor  nut !  When  I 
think  of  him  out  on  the  Raps,  honestly,  John— I  can  t 
help  laughing— rocking  around  and  not  able  to  sit 
up,  honestly,  John.  You— you  see  the  humor  of  it, 
don't  you? 

RAWSON.    Oh,  yes,  I  see  the  humor  oi  it. 

(Enter  ANNABELLE  R.i.J 

WIMBLEDON.     This  is  all  right,  John,  it's  good 
stuff      My  servants  drink  nothing  but  the  best  ! 
ANNABELLE.     (Both  rise  at  ANNABELLE'S  voice) 


So      "GOOD  GRACIOUS  ANNABELLE" 

Here's  your  coat.    (Helps  him  on  with  it.    He  puts 
stock  in  pocket  right  side.) 

WIMBLEDON.  Pretty  nice,  Annie,  to  have  you 
around — why  didn't  you  come  sooner? 

ANNAELLE.    I  didn't  know  you  needed  me. 

WIMBLEDON.  What  do  you  say  to  a  trip  to  the- 
Mediterranean  on  the  Bluebell?  Do  you  think  the 
Bluebell  is  big  enough  for  such  a  trip,  Captain? 

RAWSON.    Yes — but  I  don't  think  /  am. 

WIMBLEDON.    What  do  you  mean  by  that? 

RAWSON.  I  wouldn't  care  to  cruise  in  unknown 
waters. 

WIMBLEDON.    Why,  all  you've  got  to  do  is  buy  a 

chart  and  study  it Oh,  I  didn't  introduce  you. 

Annie,  this  is  Johnnie,  the  Captain  of  the  Bluebell. 

ANNABELLE.  Oh,  is  it?  (Looking  straight  at 
RAWSON. )  I'm  glad  to  meet  you. 

RAWSON.  (Appreciating  her  support)  I  thank 
you. 

WIMBLEDON.  We  won't  take  any  chef  and  Annie 
can  do  the  cooking. 

ANNABELLE.  Yes — I'd  love  that — I've  always 
wanted  to  cook  on  a  yacht.  It's  such  a  cute  little 
place  where  they  do  it — in  the  galley  west  of  some 
thing.  And  then  at  night  to  be  tucked  in  between 
the  mizzen  sheets — oh,  I  think  that  would  be  very 
nice. 

WIMBLEDON.  Annie  ought  never  to  do  anything 
— but  sit  on  a  cushion  and  sew  a  fine  seam — and  try 
to  get  money  from  George  Wimbledon.  That's 
hard  enough,  isn't  it,  Annie?  Never  mind — you 
don't  have  to  worry  about  your  stock  now.  (WIM 
BLEDON  is  showing  more  intoxication.  Laughing.) 

ANNABELLE.  (Drooping)  Good  gracious !  (Exits 
L.I.) 

WIMBLEDON.  That's  a  great  little  woman,  John. 
(Pouring  a  drink.)  Here's  to  Rawson  on  the  Raps ! 


"GOOD  GRACIOUS  ANNABELLE"      81 

RAWSON.  (Right  of  table)  Here's  to  Rawson 
on  the  Raps!  (Drinks.) 

(Enter  JAMES  L.2.  nervously — seeing  WIMBLEDON, 
starts  off.) 

WIMBLEDON.    James ! 

JAMES.    (Back  of  table)    Yes,  sir. 

WIMBLEDON.  Tell  that  gentleman  I  had  the  en 
counter  with  to  come  down. 

JAMES.    I  don't  think  he'll  come,  sir. 

WIMBLEDON.  I  suppose  you  have  to  do  every 
thing  he  says,  now  you've  rented  the  place  to  him. 

JAMES.  Oh,  Mr.  Wimbledon — if  you'd  only  let 
me  explain,  sir. 

^  WIMBLEDON.  I'll  let  you  explain — I'm  going  to 
pick  out  a  nice,  quiet  penitentiary  for  you,  too — tell 
your  new  employer  that  I  want  to  apologize  to  him. 

JAMES.  Yes,  sir — I — I'm  deeply  hurt,  Mr.  Wim 
bledon — and — I — give  notice,  sir. 

WIMBLEDON.  I  don't  notice  it!  (Exit  JAMES  L.2. 
To  RAWSONJ  I  wouldn't  let  him  go  for  anything. 
Magnificent,  isn't  it? — his  renting  my  place  to  this 
man.  Superb !  And  what  do  you  think  of  Rawson 
doing  it?  He  doesn't  look  as  if  he  had  the  nerve, 
does  he? 

RAWSON.    I  didn't  really  get  a  good  look  at  him. 

WIMBLEDON.    Well,  get  him  now — here  he  is 

(RAWSON  crosses  up  R.cJ     Don't  go  'way,  John. 

(Enter  GOSLING  L.2.,  also  JAMES.J 

GOSLING.  Did  you  wish  to  speak  to  me,  Mr.  Wim 
bledon  ? 

WIMBLEDON.  (Affably)  I  want  to  apologize  for 
my  treatment  of  you,  sir.  It  was  unpardonable,  but 
I  want  you  to  excuse  me.  I  mistook  you  for  one 
of  my  neighbors. 


82      "GOOD   GRACIOUS  ANNABELLE" 

GOSLING.  Well — I'm  very  glad  if  it  was  a  mis 
take,  Mr.  Wimbledon.  I  didn't  see  what  I  had  done 
to  merit  such  treatment. 

WIMBLEDON.  You  didn't — of  course  not — it  was 
a  happy  idea  of  yours,  coming  down  here. 

READY  Piano 

WIMBLEDON.  What  do  we  care?  Have  a  drink? 
(Pouring  drink  for  GOSLING  and  himself.) 

GOSLING.  Why,  thanks,  I  don't  mind  if  I  do.  I 
was  going  to  say — there's  a  little  matter  of  business 
I  want  to  speak  to  you  about.  There  are  two  shares 
of  stock  in  your  possession  that  I  want  to  get  hold 
of. 

WIMBLEDON.  All  right — you  shall  tell  me  about 
it  on  the  boat.  We're  going  for  a  sail  on  the  Blue 
bell,  and  I'll  take  you  with  me. 

GOSLING.  Oh,  I  don't  know  that  I'd  better  do 
that.  I'm  not  a  very  good  sailor. 

WIMBLEDON.  John!  (Bursts  into  explosive 
laughter.  RAWSON  comes  down  a  little  R.c.) 

GOSLING.  (Disturbed)  I  didn't  know  he  was 
there  or  I  wouldn't  have  spoken  so  freely. 

WIMBLEDON.  Oh,  you  can  trust  John — you've 
only  got  to  look  at  him  to  know  that  he'll  keep  your 
secrets  as  though  they  were  his  own. 

GOSLING.  I  really  don't  think  I'd  better,  Mr. 
Wimbledon. 

WIMBLEDON.  Come  along.  If  you  want  to  talk 
to  me,  you'll  have  to — I  can't  stay  in  the  house 
on  a  day  like  this. 

GOSLING.    But  my  clothes  are  still  damp. 

WIMBLEDON.  James,  find  some  clothes  for  this 
gentleman  at  once. 

JAMES.    (To  GOSLING,)    Come  this  way,  sir. 

(GOSLING,  followed  by  JAMES,  exits  L.2.) 
WIMBLEDON.    (Laughing)    John,  he  says  he's  not 


"GOOD  GRACIOUS  ANNABELLE"      83 

a  very  good  sailor.  (Crosses  to  RAWSON  c .)  How 
did  such  an  old  fool  as  Rawson  ever  make  any 
money  ? 

RAWSON.  Don't  ask  me.  (Eyeing  WIMBLEDON 
as  if  determined  about  the  best  way  to  get  what  he 
wants.) 

(Enter  ANNABELLE  L.I  J 

WIMBLEDON.  Here's  Annie — dear  little  Annie — 
with  her  little  soft  hands  that  she  does  up  in  thirty- 
two-button  gloves  at  night.  Suppose  you  wait  in 
the  garden,  John — it's  cooler.  (Faces  ANNIE. ) 

RAWSON.  (To  ANNABELLE,  quite  ready  to  stay 
if  she  says  so)  Shall  I  go? 

WIMBLEDON.  (Thinking  JOHN  addressed  him) 
Yes,  go,  John. 

ANNABELLE.     (Very  softly)    Yes,  please  go. 

(Exit  RAWSON  R.2. — WIMBLEDON  places  chair  for 
ANNABELLE  R.  of  table  L.     ANNABELLE  sits.) 

WIMBLEDON.  (L.C.)  Annie — I  don't  want  to 
boast — but  I  wish  my  father  could  see  me  now. 

ANNABELLE:     (L.)     I  wish  he  could,  sir. 

WIMBLEDON.    He's  dead,  you  know. 

ANNABELLE.    Oh,  is  he,  sir? 

WIMBLEDON.  And  he  died  without  ever  appre 
ciating  me. 

ANNABELLE.    That's  too  bad,  sir,  isn't  jt? 

WIMBLEDON.  I'm  going  to  be  everything  that  he 
wanted  to  be,  Annie — I'm  going  to  be  the  Copper 
King — and  the  off  lodes  of  the  mine  are  zinc.  Think 
of  it! 

ANNABELLE.  Splendid,  isn't  it,  sir?  You  can  do 
so  much  with  zinc. 

WIMBLEDON.  What  can  you  do  with  zinc,  An 
nie? 


84      "GOOD  GRACIOUS  ANNABELLE" 

ANNABELLE.  Well,  /  can't  do  anything  with  it, 
sir — but  I  thought  they  made  pipes  with  it. 

WIMBLEDON.  Pipes — I  guess  they  do— well,  my 
child,  I  promise  you  now  that  while  I  live  you  shall 
never  want  for  zinc  pipes.  (ANNABELLE  laughs.) 
I'm  a  little  drunk,  Annie — do  you  notice  it? 

ANNABELLE.  Oh,  no,  sir — it  wouldn't  be  respect 
ful  for  me  to,  sir. 

WTIMBLEDON.  Annie — you  suit  me  exactly — it 
doesn't  do  to  get  drunk  in  the  presence  of  ladies. 
Aren't  .you  glad  we're  not  ladies,  Annie — I  am— 
I'm  so  happy,  I  want  to  sing.  (Crosses  R.  to  chair 
R.C.,  sits.) 

ANNABELLE.  (Going  c.)  Well,  why  don't  you, 
sir? 

WIMBLEDON.     I'm  afraid  you'll  leave  me  if  I  do. 
ANNABELLE.    Oh,  no,  sir,  I  won't  leave  you  now. 
WIMBLEDON      Bless  you,  Annie.     Do  you  know 
this —     (Sings) 

"Your  eyes,  oh,  your  eyes "    No 

(Changing  tune) 

"Your  eyes,  oh,  your  eyes "     No.     Do  you 

know  it,  Annie? 

ANNABELLE.  Why,  yes,  sir — something  like  that. 
(She  goes  to  the  piano.)  Shall  I  try  and  play  it 
for  you,  sir  ? 

WIMBLEDON.  Yes — sing  something  awfully  sweet, 
Annie — and  say  the  words  as  though  you  meant 

me 

^  WARNING 

ANNABELLE.     (Sitting  at  piano,  singing) 
''Other  eyes  to  mine  are  ever  speaking, 
Eyes  of  brown,  eyes  of  blue — 
And  an  answer  to  this  question  seeking, 
'Is  it  you — ah,  tell  me — is  it  you  ?'  " 

WIMBLEDON.     Yes — it's  me- 

ANNABELLE. 

"Other  eyes  to  mine  are  ever  speaking, 


"GOOD  GRACIOUS  ANNABELLE"      85 

Only  yours  pass  me  by " 

WIMBLEDON.     Never,  Annie! 
ANNABELLE. 

"The  only  eyes  to  which  I  could  reply, 

It  is  I — my  darling,  it  is  I !" 
WIMBLELDON.    ( '  Much  affected)    Sweet — perf'c'ly 
sweet ! 
ANNABELLE. 

"There  is  a  happy  path  that  leads,  they  say, 

Far  from  this  sorry  world  we  know 

But  only  happy  lovers  find  the  way, 
So  how  am  I  to  go  ?" 

WIMBLEDON.      (Almost    inaudibly)      Mediterra 
nean  .  .  . 

(RAWSON,  passing  outside,  stops  at  window  c.) 
ANNABELLE. 

"Other  eyes  to  mine  are  ever  speaking, 

Only  yours  pass  me  by 

The  only  eyes  to  which  I  could  reply, 
It  is  I — my  darling,  it  is  I !" 
(Observes  that  WIMBLEDON  has  fallen  asleep  in  his 

chair;  still  singing,   crosses   to   hint.) 
"Sometimes  they're  merry,  laughing  eyes  that 

smile, 

Sometimes  they're  wistful  eyes,  that  say, 
'Forget  your  memories  a  little  while, 
And  love  me — just  to-day  !'  " 

(During  the  above  ANNABELLE  gently  removes  the 
envelope  containing   the  stock  from  WIMBLE 
DON'S  pocket;  she  puts  in  its  place  the  seven  one 
hundred  dollar  bills.    She  returns  to  the  piano 
and  plays  and  sings.) 
"Other  eyes  to  mine  are  speaking, 
Eyes  of  brown — eyes  of  blue — 
Yours  are  the  only  eyes  I'm  seeking," 
(Smiling — leaning  a  little  toward  WIMBLEDON.) 

"It  is  you — my  darling,  it  is  you !" 
(RAWSON  has  watched  the  scene  through  the  win 
dow.     Agitated  when  ANNABELLE   crosses   to 
WIMBLEDON,  almost  breathless,  glad,  when  she 
takes  the  stock.    At  the  very  end  ANNABELLE 
raises  her  eyes  and  sees  him.) 
CURTAIN 


ACT  III 

SCENE:  The  Lodge  Garden.  Path  R.  leading  to 
gardener's  cottage.  Path  L.U.E.  leading  to 
WIMBLEDON'S  home.  A  hight  ivall  across  back 
with  iron  gate  in  center. 

AT  RISE:  JENNINGS  and  GWENDOLEN  at  table  L., 
making  tea. 

GWENDOLEN.  Mr.  Jennings — you're  not  going 
away? 

JENNINGS.  Why — I've  been  discharged — didn't 
you  hear? 

GWENDOLEN.    Why? 

JENNINGS.    I  turned  the  hose  on  Mr.  Wimbledon. 

GWENDOLEN.    But  that  was  an  accident. 

JENNINGS.     No — it  wasn't.    I  did  it  intentionally. 

GWENDOLEN.  Oh,  dear!  Well,  if  you're  going, 
I'm  going,  too. 

JENNINGS.  Oh,  no — you  can  stay  on  as  parlor 
maid. 

GWENDOLEN.  But  I  wouldn't  want  to  do  that. 
(^GWENDOLEN  sits  R.,  JENNINGS  L.  of  table.)  I  just 
love  the  Lodge. 

JENNINGS.  Yes,  we've  been  very  happy  here — as 
far  as  it's  gone. 

GWENDOLEN.  It's  like  our  lodge  at  Sweetwoods — 
my  father  is  going  to  give  it  to  me  after  I'm  mar 
ried.  But  I  don't  know  when  that  will  be  now.  He 
doesn't  like  Alfred. 

JENNINGS.  Do  you?  I  mean — your  father  must 
have  some  reason. 

GWENDOLEN.    He  doesn't  like  Alfred's  father. 

JENNINGS.  I  have  such  a  sweet  old  father — but 
that's  neither  here  nor  there.  Even  a  discharged 
gardner  must  have  his  tea. 

86 


"GOOD  GRACIOUS  ANNABELLE"      87 

GWENDOLEN.  You  don't  think  there's  any  chance 
of  your  staying? 

JENNINGS.  I  don't  see  what  can  happen  to  alter 
the  inexorable  march  of  events. 

(Enter  JAMES  R.2.J 

JAMES.  (With  importance  crossing  c.)  Mr. 
Wimbledon  has  ordered  all  gates  locked,  Mr.  Jen 
nings.  (Goes  to  gate  and  locks  it.)  He's  been 
robbed. 

JENNINGS.    Robbed — has  he,  really? 

JAMES.  (Down  c.)  No  one's  to  be  permitted  in 
or  out — I  have  the  keys.  (Crosses  L.2. ) 

GWENDOLEN.    We're  locked  in. 

JENNINGS.  (Cheerfully)  Isn't  it  terrible? — the* 
end  of  a  perfect  day. 

(Enter  LOTTIE  L.2 — She  is  out  of  breath  and  excited. 
Comes  to  back  of  table.) 

LOTTIE.  I  ran  all  the  way  from  the  house.  Mr. 
Wimbledon's  woke  up  and  he's  dismissed  ^  every 
body.  It  makes  no  difference  to  me — I'd  just  as 
lieve  go  to-day  as  to-morrow — and  rather. 

GWENDOLEN.  Who  does  he  think  has  robbed  him, 
Lottie — and  what  does  he  think  they've  taken  ? 

LOTTIE.  (Surprised)  Robbed  and  taken — does 
he  say  that? 

GWENDOLEN.    That's  what  James  said. 

LOTTIE.  Well,  James  had  better  look  to  himself 
as  far  as  that  goes — as  for  me,  I  have  no  cause  to 
worry — robbed  and  taken — what  are  you  going 
to  do? 

JENNINGS.  We're  going  to  have  some  tea — would 
you  like  a  cup?  (GWENDOLEN  pours  a  cup  and 
serves  JENNINGS  and  herself.) 

LOTTIE.     Tea?    What  good  does  that  do?    You 


88      "GOOD  GRACIOUS  ANNABELLE" 

feel  just  the  same  after  as  you  did  before.  (Crosses 
c.)  Do  you  care  if  I  go  in  the  Lodge  and  sit  a 
while,  Mr.  Jennings? 

JENNINGS.    Delighted  to  have  you,  Lottie. 

LOTTIE.  I  don't  want  to  go  back  to  the  house  till 
it  blows  over,  if  it  does.  If  it  don't,  I  can  go  on 
the  five-three — my  trunk's  packed  and  ready.  (Exits 

R.2.J 

GWENDOLEN.    Do  you  know  what  I  wish? 
JENNINGS.     I   wonder  if  it's   the  same  thing   I 
wish? 

(LOTTIE  appears  R.c.J 

LOTTIE.  If  anyone  should  ask  you — just  don't 
tell  them  that  you  saw  me. 

JENNINGS.    (Not  looking)    We  didn't  see  you. 

(LOTTIE  exits  R.2.) 

GWENDOLEN.  (Resuming)  I  wish  you'd  recite 
me  one  of  your  poems. 

JENNINGS.  Do  you  really?  Why,  you  adorable 
dear !  Ethel  won't  listen  to  them  any  more. 

GWENDOLEN.  Just  because  you  can't  sell  them.  I 
think  the  reason  you  can't  is  because  they're  so  good. 

JENNINGS.  I  know  it  is.  I'm  doing  some  vers 
libre  now — shall  I  tell  you  a  little  bit  I  wrote  this 
morning  ? 

GWENDOLEN.    Oh,  please  do 

JENNINGS.    Dawn!    Trailing,  saffron  and  gray — 

LOTTIE.  (Reappearing  R.2.,  goes  c.)  After  all, 
our  troubles  are  just  what  we  make  them.  I  feel 
superior  to  everything  and  everybody.  I  know  the 
sun  is  shining  and  nothing  can  harm  me. 

(GWENDOLEN  and  JENNINGS  look  at  her  annoyed. 
She  exits  R.2.J 


"GOOD  GRACIOUS  ANNABELLE"      89 

JENNINGS.     (Getting  into  the  mood  with  a  little 
difficulty) 
Dawn! 

Trailing  saffron  and  gray  chiffon  veils 
Over  the  sea — 

The  sea,  like  a  great,  strong,  loud-singing  boy, 
Waiting  to  welcome  her — 
Dawn ! 

(Enter  LOTTIE  R.2.     She  is  depressed  and  tearful.) 

LOTTIE.  Though  for  the  matter  of  that — for  a 
few  moments  of  pleasure — think  what  we  have  to 
suffer. 

GWENDOLEN.     Sh-h ! 

(LOTTIE  stays  on  and  listens,  her  mood  szvayed  by 
the  verse  libre.) 

JENNINGS.      (Continuing  with  difficulty) 

Dawn! 

Changing  to  gold  and  blue — 

Ever  changing,  like  a  dancer 

On  whom  the  lights  are  thrown. 

Dawn  with  wistful  shadows 

LOTTIE.     Dawn  with  whiskers! 
JENNINGS. 

Till  she  emerges — glorious  morning ! 

And  throws  herself  into  the  arms 

Of  her  Lover  the  Sea. 

LOTTIE.  Stop !  It  does  something  to  me !  Dawn ! 
(She  staggers  off  R.E.) 

GWENDOLEN.  (Rising,  also  JEN N INGS )  Oh,  let's 
go  where  we  won't  be  disturbed. 

(Enter  MURGHISON  left  2.    He  has  his  watch  in  his 
hand  and  is  plainly  upset.     Crosses  c.) 


90      "GOOD   GRACIOUS   ANNABELLE" 

MURCHISON.  When  you  see  Mrs.  Leigh,  please 
tell  her  that  I  waited  for  her  and  that  I  have  gone. 

JENNINGS.  But  if  you  haven't  I  don't  believe  you 
will.  Wimbledon  says  he's  been  robbed,  and  the 
gates  are  locked. 

(Exit  JENNINGS  and  GWENDOLEN  L.2.    MURCHISON 
goes  R.C.  and  paces.     Enter  ANNABELLE  R.2.J 

ANNABELLE.  Here  I  am,  Harry.  (Crosses  and 
sits  on  stool  L.  of  table  R.j 

MURCHISON.  You  said  four  o'clock.  (Crosses  to 
right  of  table  R.) 

ANNABELLE.  Well,  I  wonder  I  didn't  say  some 
thing  worse. 

MURCHISON.  Just  tell  me  something,  Annabelle. 
Do  you  care  for  this  man? 

ANNABELLE.  Which  man,  Harry?  (WIMBLE 
DON'S  voice  heard  off  left.  ANNABELLE  rises.) 

WIMBLEDON.  (Off  left)  Don't  let  anybody  out. 
Don't  let  anybody  in. 

MURCHISON.     The  devil!     It's  Wimbledon! 

ANNABELLE.  Hide,  Harry — hide!  (She  rises  at 
sound  of  WIMBLEDON'S  voice.) 

MURCHISON.     I  shall  do  nothing  of  the  sort. 

(Enter  WIMBLEDON  L.2.,  comes  c.) 

WIMBLEDON.  Well,  Annie,  I  see  you  kept  your 
date  in  spite  of  what  I  said. 

ANNABELLE.  Didn't  think  you  would  mind.  I 
thought  you  were  asleep. 

WIMBLEDON,     (c.)    I  mind  things  in  my  sleep. 

MURCHISON.  (To  ANNABELLEJ  Have  you  told 
Mr.  Wimbledon  who  I  am? 

WIMBLEDON.  Yes,  she  has  told  me,  and  I  call  it 
a  contemptible  outrage  that  you  should  come  into 
my  house  and  try  to  take  her  away  from  me. 


"GOOD  GRACIOUS  ANNABELLE"      91 

MURCHISON.  How  about  your  taking  her  away 
from  me? 

WIMBLEDON.  Annie  came  to  me  of  her  own  free 
will — let  me  remind  you  of  your  wife,  sir. 

MURCHISON.  (To  ANNABELLE  J  You  told  him 
about  Ada! 

WIMBLEDON.  Yes,  she  did — I  appreciate  all  that 
you  do,  in  Annie — she's  a  sweet,  healthy  soul — and 
I  daresay  she  makes  the  best  lemon  meringue  pie  in 
the  world — but  in  spite  of  that — I  say,  go  back  to 
your  wife ! 

MURCHISON.  Lemon  meringue !  What's  the  mat 
ter  with  you?  You  want  me  to  go  and  leave  her 
for  you,  but  I  won't  do  it.  Do  you  want  me  to, 
Annabelle  ? 

WIMBLEDON.  (To  ANNABELLEJ  You  told  me  a 
fib,  Annie — he  doesn't  call  you  by  that  funny  name 
— Dappledown,  or  whatever  it  was. 

MURCHISON.  Tell  me — Annabelle — tell  me  the 
truth? 

ANNABELLE.     Well,  in  a  way — yes. 

MURCHISON.     Yes  what? 

ANNABELLE.  Yes — which?  I  don't  know — I'm 
all  mixed  up — I  only  know  this — I  don't  want  to 
marry  anybody. 

WIMBLEDON.  Marry  !  Were  you  going  to  marry 
her? 

MURCHISON.  (Furious,  going  to  him)  What  do 
you  mean?  Isn't  she  the  finest,  straightest  little 
woman  in  the  world? 

\VIMBLEDON.  All  right,  all  right — I'll  marry  her 
— you  go  back  to  Ada — and  forgive  Irmengard 
while  you're  about  it. 

MURCHISON.     Irmengard?     Are  you  crazy? 

ANNABELLE.  (Going  to  MURCHISON,)  No,  no — 
go  and  wait  for  me  outside — I'll  come  in  five  min 
utes. 


92      "GOOD  GRACIOUS  ANNABELLE" 

MURCHISON.  (Glaring  at  WIMBLEDONJ  Maybe 
it  will  be  safer — for  him. 

ANNABELLE.  (Leading  MURCHISON  R.I)  Yes, 
yes,  I'm  sure  it  will. 

(Exit  MURCHISON  R.I.) 

WIMBLEDON.  Colton  Morrisson  is  too  excitable, 
Annie — I  think  the  Missie  will  be  glad  she  lost  him. 
Do  you  like  that  kind  of  a  man? 

ANNABELLE.  (Sitting  left  of  table  R.)  Well,  that 
depends,  sir — at  a  baseball  game  or  a  circus  they're 
all  right. 

WIMBLEDON.  But  you  don't  want  a  circus  all  the 
time. 

ANNABELLE.  Have  you  really  been  robbed,  Mr. 
Wimbledon  ? 

"WIMBLEDON.  Yes,  but  don't  worry — I  don't.  I've 
got  a  very  good  detective  on  it.  Wickham  from 
the  Hotel  St.  Swithin. 

ANNABELLE.  Good  gracious!  And  will  we  all  be 
searched  and  questioned? 

WIMBLEDON.  You  won't  mind  that,  will  you? 
You're  innocent,  Annie — why  should  you  mind? 

ANNABELLE.  Just  being  innocent,  sir,  doesn't 
make  it  any  better.  It  will  spoil  my  whole  after 
noon. 

WIMBLEDON.  (Looks  off  R.)  Well,  I  won't  have 
it,  then.  You  can  just  tell  Wfckham  you  didn't  do 
it,  and  that's  all  there  is  to  it.  (Down  right  of 
table.)  That's  a  very  pretty  dress  you've  got  on, 
Annie 

ANNABELLE.  Why,  it's  an  old  dress  of  Mrs. 
Colton  Morrisson's  I  just  pressed  and  fixed  up  a 
little. 

WIMBLEDON.  Are  you  sure  it  isn't  an  old  dress  of 
Mr.  Colton  Morrisson's,  Annie?  (Exit  R.2.) 


"GOOD  GRACIOUS  ANNABELLE"      93 
(Enter  ALEC  L.2.J 

ALEC.  John's  down  on  the  rocks  at  the  foot  of 
the  lawn. 

ANNABELLE.    Fishing? 

ALEC.     No,  he's  just  thinking. 

ANNABELLE.  He's  not  thinking  of  coming  up 
here,  I  suppose? 

ALEC.    Do  you  want  to  see  him?     (Stands  L.J 

ANNABELLE.    Oh,  no! 

ALEC.     I'll  tell  him. 

ANNABELLE.     Oh,  no!     Don't! 

ALEC.  All  right,  I  won't.  (Crosses  to  L.U.  and 
beckons  RAWSON  on.  Enter  RAWSON  L.2.J 

RAWSON.     (Up  L.J     Did  you  ask  her? 

ALEC.  I  didn't  have  to,  sir.  She  wants  to  see  you 
too.  Don't  be  too  anxious,  sir.  fALEC  exits  L.2. 
RAWSON  crosses  to  back  of  table  c  ) 

RAWSON.  ("ANNABELLE  has  been  lost  in  thought) 
I  saw  what  you  did. 

ANNABELLE.    You  saw  me  take  the 

RAWSON.  — stock  from  Mr.  Wimbledon's  pocket  ? 
Yes. 

ANNABELLE.  Oh,  Mr.  Rawson — I  hope  you  saw 
me  pay  for  it,  too? 

RAWSON.    Did  you  pay  for  it? 

ANNABELLE.  Yes,  with  seven  hundred  dollars 
that  I  borrowed  from  Mr.  Wimbledon. 

RAWSON.    I  see.     (Sits  right  of  table  R.j 

ANNABELLE.  Did  you  think  it  was  very  dreadful 
of  me? 

RAWSON.     I  was  just  waiting  to  do  it  myself. 

ANNABELLE.    You? 

RAWSON.  Just  waiting  for  the  proper  moment — 
but  you  got  ahead  of  me. 

ANNABELLE.  (Disturbed)  But  what  right  had 
you  to  take  it? 

RAWSON.    Only  the  right  of  being  sober. 


94      "GOOD  GRACIOUS  ANNABELLE" 

ANNABELLE.    What  were  you  going  to  do  with  it? 

RAWSON.  (Hesitating)  I  was  going  to  give  it 
to  your  husband. 

ANNABELLE.  (Surprised)  But  how  could  you  do 
that?  Do  you  know  him? 

RAWSON.    Yes. 

ANNABELLE.    Why  didn't  you  tell  me  ? 

RAWSON.  Well,  I  knew  you  didn't  think  much  of 
him — and  I  thought  my  being  a  friend  of  his 
wouldn't  help  me  any — with  you. 

ANNABELLE.  A  friend  of  his?  How  can  you  be 
friends  with  a  man  like  that? 

RAWSON.  I  know  you  think  he's  a  thief,  but  if 
you  understood  better  how  he  made  his  money 

ANNABELLE.     I  know  how  he  made  it. 

RAWSON.  I  don't  think  you  do — any  more  than 
you  know  why  he  married  you.  What  would  have 
happened  to  you  that  night  if  you  hadn't  been  car 
ried  off?  Did  you  ever  think  of  that? 

ANNABELLE.  No,  I  never  thought  of  that.  (Front 
in  thought.) 

RAWSON.  It  seems  to  me  your  husband  did  the 
best  he  could  considering  what  a  poor,  ignorant  fel 
low  he  was  at  the  time. 

ANNABELLE.  (To  him)  Has  he  changed?  Of 
course  he's  rich,  but  in  other  ways?  Is  his  beard 
just  as  long? 

RAWSON.  Well,  a  remarkable  thing  happened.  A 
woman  out  there  fell  in  love  with  him 

ANNABELLE.  What  kind  of  a  woman?  An  In 
dian? 

RAWSON.  A  school  teacher.  She  taught  him 
everything  she  knew 

ANNABELLE.  And  then  she  taught  him  to  love 
her. 

RAWSON.  No,  she  couldn't  teach  him  that.  You 
see,  he  always  had  an  idea  that  he  wasn't  the  kind  of 
a  man  that  a  woman  would  care  for,  but  when  this 


"GOOD  GRACIOUS  ANNABELLE"      95 

woman  did,  he  thought  that  some  time  perhaps  you — 
ANNABELLE.    Mr.  Rawson,  tell  him  to  marry  the 

school  teacher. 

RAWSON.    To  marry  the  school  teacher? 
ANNABELLE.    Yes,  I  hope  he  has  a  name  to  give 

her.     I  hope  they'll  be  happy. 

(WIMBLEDON  enters  R.2.J 

WIMBLEDON.  (RAWSON  rises.  )  Suppose  you 
know  I've  been  robbed.  I  don't  suspect  any  one, 
but  as  it  happens  there's  a  detective  on  the  place. 
I'm  going  to  use  him  to  exonerate  everyone.  All  but 
one.  So  stick  around  within  call. 

(Exit  RAWSON  R.3.    WIMBLEDON  goes  to  L.  of  AN 
NABELLE.  ) 

WIMBLEDON.  You  mustn't  flirt  with  John,  An 
nie.  I  think  he'd  take  it  very  hard  if  you  threw 
him  down.  Flirt  with  me,  I'm  fireproof.  I've  auto 
matic  sprinklers  in  my  hat.  All  doors  open  outward 
and  I've  the  requisite  number  of  escapes. 

ANNABELLE.  Very  well,  sir,  I  will,  but  not  just 
now. 

(Enter  WICKHAM  L.2.) 

WICKHAM.  Well,  Mr.  Wimbledon,  it's  a  beautiful 
place  you've  got  down  here. 

WIMBLEDON.  Yea,  but  it's  nothing  to  the  beauti 
ful  people. 

WICKHAM.  We'll  soon  have  all  that  straightened 
out,  sir.  I  conduct  an  inquiry  of  this  kind  accord 
ing  to  the  latest  psychological  methods. 

WIMBLEDON.  All  right,  Wickham.  (Takes  WICK 
HAM  by  arm  and  strolls  off  L.2.J  You  understand 
it  was  two  shares  of  stock  in  an  envelope  taken  out 


96      "GOOD  GRACIOUS  ANNABELLE" 

of  my  coat  pocket  while  I  was  having  a  short  nap  on 
the  kitchen  table.     (Exits  L.$.) 

(ANNABELLE  rises,  starts  R.) 

JAMES.  (Pleadingly,  to  ANNIE  R.C.J  Please,  An 
nie — just  a  moment. 

ANNABELLE.    Well,  what  is  it,  James? 

JAMES.  I'm  expecting  me  walking  papers  from 
Mr.  Wimbledon,  Annie.  He'll  never  stand  for  me 
renting  the  place  to  Mr.  Rawson. 

ANNABELLE.  Well — perhaps  Mr.  Rawson  will  do 
something  for  you,  James. 

JAMES.  Just  what  I  thought,  Annie — it  wouldn't 
be  a  bad  idea  if  we  was  to  go  into  his  employ  to 
gether.  He  seems  to  have  taken  quite  a  fancy  to 
you.  (ANNABELLE  is  pensive.)  Speak  to  him  for 
us  both,  Annie. 

ANNABELLE.    Speak  for  yoursdf,  James 

JAMES.  You  wouldn't  want  to  go  with  Mr.  Raw- 
son,  Annie? 

ANNABELLE.     No,  James.    I  can't  trust  him. 

JAMES.  That  don't  matter,  Annie — just  so  he 
trusts  us. 

(WICKHAM,  JENNINGS,   GWENDOLEN,   ETHEL  and 
ALFRED  enter  L.2.) 

WICKHAM.  Conduct  the  new  servants  to  the 
Lodge,  Mr.  Ludgate,  and  I'll  examine  them  one  by 
one. 

(JENNINGS,  GWENDOLEN,  ETHEL  and  ALFRED  exit 

K.3-; 

JAMES.    Come,  Annie. 


a 

& 


"GOOD  GRACIOUS  ANNABELLE"      97 

(ANNABELLE  exits  R.2.     WIMBLEDON  drops  down 
L.c.J 

WICKHAM.  (c.)  Mr.  Wimbledon,  I  don't  like 
to  say  it,  but  this  looks  to  me  like  a  big  conspiracy. 
I  saw  all  of  these  people  yesterday  at  the  St. 
Swithin. 

(Enter  LOTTIE  and  JAMES  R.2.) 

JAMES.  Hearing  stifled  howls  coming  from  the 
linen  press,  sir,  I  opened  the  door  and  found  Lottie 
a  hiding. 

LOTTIE.  It's  no  surprise  to  me.  I  felt  some 
thing  hanging  over  me  all  day. 

WIMBLEDON.    (L.C.)    Maybe  it's  a  hang-over. 

LOTTIE.  All  I  have  to  say,  Mr.  Wimbledon,  is 
this,  that  I  take  it  occasionally  for  medicinal  pur 
poses  and  I'm  sick  a  good  deal  of  the  time. 

WIMBLEDON.    (L.)    What  are  you  talking  about? 

JAMES.  (R.)  She's  taken  a  case  of  Scotch  and 
made  it  into  a  window-seat. 

WIMBLEDON.     Well,  go  and  sit  on  it. 

WICKHAM.  It's  not  a  case  of  Scotch,  young 
woman.  Wait  in  the  lodge. 

LOTTIE.  You  won't  keep  me  waiting  long,  will 
you?  (Exits  R.2.J 

WICKHAM.  (c.)  I  think  you'll  be  interested, 
Mr.  Wimbledon.  In  this  case,  I  use  the  Freud  sys 
tem. 

WIMBLEDON.  (Left)  Fraud  system — what's 
that? 

WICKHAM.  By  the  simple  saying  of  words  placed 
in  a  certain  order  or  disorder,  I  can  detect  the  guilty 
party.  Stay  and  watch  me  if  you  like,  sir. 

WIMBLEDON.  All  right,  I  will.  (Sits  right  of 
L.T.J 

WICKHAM.     Call  the  first  one. 


98      "GOOD  GRACIOUS  ANNABELLE" 
JAMES.    (Up  R.CV  calls  R.3-J    Alonzo  Jennings. 
(Enter  JENNINGS  R.2.,  crossing  down.) 

WIMBLEDON.  The  busy  gardner.  I  don't  think 
he  had  anything  to  do  with  it. 

WICKHAM.  Alonzo  Jennings,  I'll  tell  you  some 
thing.  This  man  was  in  the  Hotel  St.  Swithin  yes 
terday  passing  himself  off  as  Wilbur  Jennings,  the 
poet. 

WIMBLEDON.     I  never  heard  of  him. 

WICKHAM.  Well,  I  consider  Wilbur  Jennings 
the  greatest  living  poet  to-day,  and  the  effrontery  of 

this  fellow (WICKHAM  addresses  this  speech 

to  WIMBLEDON.     At  finish  he  extends  right  hand 
toward  JENNINGS,  still  looking  at  WIMBLEDON.,) 

JENNINGS.  (Quickly  taking  hand)  Mr.  Wick- 
ham,  I  thank  you  for  those  kind  words.  I  do  really, 
coming  from  a  simple  man  like  you  who  knows 
nothing 

WICKHAM.     Silence ! 

JENNINGS.  (Effusively)  Really,  it's  delightful 
to  know.  (Shakes  hands.) 

WICKHAM.  (Pulling  hand  away,  deducting) 
Stop!  Stop!  Suppose  we're  in  a  garden.  Select 
from  these  packages  of  seed  zinias,  delphinium,  stock 
and  lupin.  Quick !  The  stock— I  mean  the  seed. 

WIMBLEDON.  Maybe  you  took  them  yourself, 
Wickham. 

WICKHAM.  (Turns  sharply  to  WIMBLEDON;  Mr. 
Wimbledon,  please — to  conduct  an  inquiry  of  this 
kind,  I  must  concentrate. 

WIMBLEDON.  All  right,  but  I  think  the  flower 
bed  is  cold,  Wickham. 

WICKHAM.  (Resuming  with  JENNINGS  j  I  give 
you  the  words.  Periscope,  altruistic,  stock,  Bridge. 
Oblivious.  What  word  occurs  to  you  ?  Quick,  the 
word! 


"GOOD   GRACIOUS  ANNABELLE"      99 

JENNINGS.  Fool  is  the  only  word  that  occurs  to 
me,  Mr.  Wickham. 

WICKHAM.  (Quickly,  clapping  hands)  Passed. 
Next.  (Exit  JENNINGS  L.2.J 

JAMES.  (Crossing  up  R.C.,  calls  R.2.J  Lottie 
Smiley. 

(Enter  LOTTIE  R.2V  comes  to  c.) 

WICKHAM.  (Deducting)  Now  suppose  we  take 
a  walk  under  those  trees  yonder 

LOTTIE.  That's  where  I  used  to  walk  with  the 
coachman  that  was  discharged. 

WICKHAM.    Yes,  but  never  mind  that. 

LOTTIE.  We  used  to  sit  on  the  seat  under  the  old 
apple  tree  at  the  end.  It  was  so  beautiful  when  the 
sun  went  down,  except  for  the  caterpillars. 

WICKHAM.  (Deducting)  Well,  if  your  mind  is 
beset  with  memories  of  that  place,  we'll  take  an 
other.  Suppose  I  take  you  to  the  movies? 

LOTTIE.  I  couldn't  go  to-night.  I'm  going  to 
the  church  social.  I  don't  know  why  I  go.  They 
don't  put  anything  in  it  but  ginger — still  I  go. 

WICKHAM.     You  can't  concentrate.     Can  you? 

LOTTIE.  Why,  certainly.  I  used  to  in  my  last 
place,  but  I  don't  get  time  for  any  kind  of  recreation 
here. 

WICKHAM.  You  don't  understand.  Can  you  put 
your  mind  on  one  thing  and  keep  it  on  one  thing  ? 

LOTTIE.  It  depends  upon  what  the  thing  is.  (Eyes 
him.) 

WICKHAM.     Concentrate  on  me  for  a  moment. 

LOTTIE.  (Shyly)  On  you,  right  here  in  front  of 
Mr.  Wimbledon? 

WICKHAM.  (Going  close  to  her)  Look  into  my 
eyes  a  moment.  What  do  you  think  when  you  look 
into  them? 


ioo    "GOOD  GRACIOUS  ANNABELLE" 

LOTTIE.  (Looking  at  eyes)  One's  a  little  higher 
than  the  other. 

WICKHAM.  Now — I  say  the  words  expectant — 
radical — Anthony  Comstock — Misanthrope.  What 
word  comes  to  you — (Sharp  and  quick) — Quick, 
the  word! 

LOTTIE.  (Sadly  and  slowly)  There's  always 
something  the  matter  with  everyone  that  likes  me. 

WICKHAM.    What!    \Vhat! 

LOTTIE.  I  have  a  brother  in  the  asylum.  I  wish 
you  could  meet  him.  You  remind  me  of  him  so 
much.  You  are  kind.  Any  one  can  see  that,  and 
I'll  go  to  the  movies  with  you  to-morrow  night.  I'm 
not  afraid.  If  you  won't  get  violent  and  talk  loud. 

WTICKHAM.  That'll  do.  That'll  do.  (Crosses 
to  WIMBLEDON  L.)  Non  compos  mentis 

LOTTIE.  Poor  nut.  Saturn  and  mercury,  what 
are  you  doing  to  me?  (Exit  R.I.) 

WICKHAM.    Next. 

JAMES.  (Going  up  R.C.,  calls  off  R-3,  sadly)  An 
nie  Postlethwaite. 

(Enter  ANNABELLE  R.2,  crossing  down  R.  to  front 
of  R.T.; 

WIMBLEDON.    (Rising)    Stop !    I  won't  have  it. 

WICKHAM.  Please,  Mr.  Wimbledon — allow  me  to 
conduct  this  investigation  in  my  own  way. 

WIMBLEDON.  I  will  not— -you  conduct  it  in  my 
way,  and  suspect  the  people  I  tell  you  to — or  it's  all 
off. 

ANNABELLE.    Oh,  thank  you,  Mr.  Wimbledon. 

(Enter  RAWSON  and  GOSLING  L.3J 

WICKHAM.  (Seeing  RAWSON )  Why,  how  do 
you  do,  Mr.  Rawson — I  didn't  know  you  were  down 
here. 


"GOOD  GRACIOUS  ANNABELLE"     101 

WIMBLEDON.  Isn't  he  the  fool— what's  the  mat 
ter  with  you,  Wickham?  This  is  Mr.  Rawson 

(Indicating  GOSLING.,) 

GOSLING.  My  name's  Gosling.  This  is  Mr.  Raw- 
son. 

WIMBLEDON.  (To  RAWSON;  So  you're  John 

Rawson (Turns  to  WICKHAMJ  The  inquiry 

is  off.  I  know  who's  got  the  stock.  Thank  you, 
Wickham.  You're  a  great  detective.  But  I  don't 
need  you.  Don't  need  you,  Gosling.  James,  Annie, 
leave  me  with  this  man  a  moment. 

(JAMES   exits   R.,   WICKHAM   exits   R.2.,   GOSLING 
exits  L.2.J 

ANNABELLE.    Very  well,  sir.     (Exits  R.2.) 

(RAWSON  looks  longingly  after  ANNABELLE  R. 
WIMBLEDON  sets  himself  and  crosses  to  RAW- 
SON,  staring  at  the  middle  of  RAWSON'S  back.) 

WIMBLEDON.  You  took  that  stock  out  of  my 
pocket — do  you  deny  it  ? 

RAWSON.  No — I  didn't  like  the  way  it  got  in. 
(Turns  to  WIMBLEDON.^ 

WIMBLEDON.  You  don't  suppose  I'm  going  to 
submit  to  it. 

RAWSON.    Of  course  not. 

WIMBLEDON.  Well — what  do  you  think  I'm  go 
ing  to  do? 

RAWSON.  I  don't  have  to  think — I  suppose  it 
means  a  law  suit — perhaps  a  few  years  of  litiga 
tion. 

WIMBLEDON.  (Walking  a  few  paces  L.C.,  turning) 
Rawson — you're  a  good  business  man — what  would 
you  advise  us  to  do? 

RAWSON.      What    I've   always   advised — what   I 


102     ''GOOD  GRACIOUS  ANNABELLE" 

tried  to  get  your  father  to  do — get  together.  (After 
a  moment)  Get  together 

WIMBLEDON.    Be  partners? 

RAWSON.  Why  not?  You've  only  got  to  look  at 
me — to  know  that  I  would  keep  your  secrets  as 
though  they  were  my  own. 

WIMBLEDON.  I  said  that,  didn't  I?  And  the 
fight  would  be  off? 

RAWSON.    The  fight  would  be  off. 

WIMBLEDON.  (Thinking  a  moment)  Well,  I'm 
with  you,  Johnnie.  (Takes  RAWSON  by  the  arm  and 
comes  down  a  few  steps.)  I  don't  like  fighting,  any 
how.  This  is  a  great  moment.  I  wish  I  were 

sober,  so  I  could  appreciate  it.  Where's  Annie 

(Goes  up  L.,  calling)  Annie - 

(Enter  ANNABELLE  R.2.J 

ANNABELLE.    Did  you  call  me  ? 

WIMBLEDON.  Yes,  let's  have  a  little  tea,  my  dear, 
and  then  Mr.  Rawson  and  I  are  going. 

ANNABELLE.    Going? 

WIMBLEDON.  Going  into  partnership,  aren't  we, 
Johnnie  ? 

ANNABELLE.     Into  partnership! 

RAWSON.    I'll  explain. 

WIMBLEDON.  I'll  explain — Rawson  is  a  thief,  An 
nie — and  I  need  one  in  my  business. 

ANNABELLE.    Are  you  joking,  Mr.  Wimbledon? 

WIMBLEDON.  He  stole  two  shares  of  stock  out 
of  my  pocket,  Annie. 

ANNABELLE.    Does  he  say  so? 

WIMBLEDON.  Of  course,  my  dear — you  don't  un 
derstand — his  doing  that  shows  that  he  is  worthy 
of  being  Wimbledon's  partner. 

ANNABELLE.  It  shows  nothing — for  he  didn't  do 
it.  Oh,  how  awful  men  are — how  perfectly  dread 
ful  they  are!  They  lie  and  steal — and  even  when 


"GOOD  GRACIOUS  ANNABELLE"     103 

they  don't,  they  say  they  do.  (Looking  from  RAW- 
SON  to  WIMBLEDON )  He  has  no  right  to  go  into 
partnership  with  you. 

WIMBLEDON.    The  dear  thing's  gone  off  her  head. 

RAWSON.  (To  ANNABELLEJ  I'll  explain  it  all 
to  you.  Don't  be  worried,  please.  Just  trust  me. 

ANNABELLE.  (Her  hands  on  her  breast)  Oh,  I 
can't!  I  have  it  here — the  stock! 

WIMBLEDON.     You ! 

ANNABELLE.  Yes — it  belongs  to  me.  I  paid  for 
it  with  the  money  I  borrowed  from  you. 

^  WIMBLEDON.    (L.C.)    But  I  don't  understand,  An 
nie.    Was  this  the  stock  that  Colton  Morrisson 

ANNABELLE.     (c.)     Yes,  it  was (Changing 

her  mind.)  No,  it  wasn't.  There  ain't  any  Colton 
Morrisson. 

WIMBLEDON.  (Terribly  shocked)  Why,  Annie 
Dappledown 

ANNABELLE.  There  isn't  any  Annie  Dappledown. 
The  stock  belongs  to  me,  and  I'm  Annabelle  Leigh ! 
Good  gracious!  I've  been  a  long  time  telling  you. 
(Sits  R.C.) 

WIMBLEDON.  A  big  conspiracy,  just  as  Wickham 
said.  You  came  down  here  to  get  that  stock. 

ANNABELLE.  But  that  wasn't  all.  I  came  down 
here  because  yesterday  I  suddenly  found  myself  in 
desperate  need.  I  found  myself  homeless,  penniless 
and  a  co-respondent — all  at  once. 

WIMBLEDON.  (Crossing  c.)  A  co-respondent, 
Annie?  Who's  the  lucky  man?  (Strolls  up  and 
around  to  R.  of  table.) 

ANNABELLE.  (Not  heeding)  It  was  too  much — I 
overheard  your  butler  telling  about  this  wonderful 
place — and  that  you  needed  a  cook. 

RAWSON.    (c.    Amazed)    A  cook ! 

ANNABELLE.  It  seemed  like  the  mercy  of  Provi 
dence — so  we  all  came  down — your  new  servants 


104    "GOOD  GRACIOUS  ANNABELLE" 

aren't  servants  at  all.  (To  WIMBLEDONJ  They're 
just  poor — like  me. 

WIMBLEDON.  Poor  servants — I  noticed  that — 
well,  it's  the  most  amazing  thing  I  ever  heard  of. 

RAWSON.  Why  didn't  you  tell  me — I  would  have 
done  something  about  it  yesterday. 

ANNABELLE.    You  did — you  paid  for  the  lunch. 

RAWSON.  (Agitatedly)  But  your  husband  sends 
you  money 

ANNABELLE.    Oh,  yes. 

RAWSON.    He  doesn't  send  you  enongh? 

ANNABELLE.  He  couldn't — he  sends  it  every  quar 
ter,  but  I  need  it  every  second.  It's  so  hard  to  pay 
your  bills  when  the  checks  come  right  back.  I  never 
had  a  cashier  in  any  bank  that  adds  the  same  way  I 
do — and,  oh,  you  can't  imagine  the  desperation  of 
a  woman  alone  in  a  room  with  an  unbalanced  bank 
account 

WIMBLEDON.  Well,  you're  a  great  financier,  little 
woman !  You've  created  a  merger  that  will  surprise 
the  world.  But  your  stock  has  gone  down — it  no 
longer  means  the  balance  of  power. 

ANNABELLE.  (Rising)  Do  you  mean  to  say  my 
stock  has  lost  its  balance?  Then  I  suppose  I've 
ruined  my  husband 

WIMBLEDON.    Well,  who  cares 

ANNABELLE.  I  care — he's  just  as  bad  as  either 
of  yOU — anci  deserves  just  as  much  successs — and, 
after  all,  he  does  provide  for  me. 

WIMBLEDON.  Well,  anyone  would  be  glad  to  do 
that.  As  a  matter  of  fact,  Rawson — there  should 
never  have  been  any  fight  between  us — we've  been 
partners  in  crime  for  years.  This  mine  doesn't  be 
long  to  either  of  us — it  belongs  to  the  Hermit — 
whoever  he  is. 

RAWSON.  (Surprised)  It  belongs  to  the  Hermit 
— do  you  know  that  ? 

WIMBLEDON.     Why,  of  course — it's  a  matter  of 


"GOOD  GRACIOUS  ANNABELLE"     105 

record.  But  the  poor  devil  that  staked  the  claim  is 
out  of  it — that  shows  what  it  is  to  be  honest. 

ANNABELLE.  (Sitting,  having  listened  intently) 
Do  you  mean  to  say  my  husband  is  honest  ? — I  never 
had  such  a  shock  in  my  life.  (Sits.) 

WIMBLEDON.  (Quickly}  Do  you  mean  to  say 
your  husband  is  the  Hermit? 

ANNABELLE.    He  is 

WIMBLEDON.  Well,  then,  Mrs.  Hermit,  I  owe 
you  an  apology — and  Rawson  owes  you  a  great  deal 
of  money.  Now  I'm  going  to  have  a  good  cry  over 
my  lost  little  Anna  Dappledown,  the  only  cook  I  ever 
loved.  (Exits  R.2J 

ANNABELLE.  Oh,  but  this  makes  everything  dif 
ferent — you  were  right,  after  all. 

RAWSON.    Yes — well,  you  see — I  knew  I  was. 

ANNABELLE.  Do  you  know  what  I  think  I  ought 
to  do?  I  ought  to  go  out  there  to  him. 

RAWSON.  Oh,  I  don't  think  he'd  want  you  to  do 
that 

ANNABELLE.  To  ask  him  to  forgive  me.  Why, 
don't  you  see? — he  had  a  heart  of  gold — that  was 
all  kindness  in  his  glittering  eyes — and  somewhere 
behind  that  shaggy  beard  there  was  a  face — a  kind 
face.  Why,  he's  been  beautiful  to  me — and  perhaps 
I've  ruined  him!  Do  you  think  I  have? 

RAWSON.  (Thoughtfully)  Oh,  no,  he'll  still  have 
about  ten  thousand  dollars  a  day. 

ANNABELLE.  Well,  Fm  going  out  there  to  him — 
and  I  shall  try  to  live  within  our  income. 

RAWSON.    Then  you  don't  want  a  divorce? 

ANNABELLE.  No — are  you  married,  Mr.  Raw- 
son? 

RAWSON.    (Going  to  her)    Yes 

ANNABELLE.  No — no — I  don't  want  a  divorce. 
I'm  going  to  him. 

RAWSON.    But  you  won't  find  him  out  there. 

ANNABELLE.    Where  is  he? 


io6    "GOOD   GRACIOUS   ANNABELLE" 

RAWSON.    He  came  East 

ANNABELLE.     And  he  died? 

RAWSON.  No — he  shaved  and  you  don't  know 
him. 

ANNABELLE.  (Startled,  looking  at  him)  You — 
oh,  no! 

RAWSON.  Oh,  yes.  (^ANNABELLE  weeps  and  cov 
ers  face  with  hands.)  I  shouldn't  have  told  you. 
(Starts  off  L.3,  but  comes  back  to  L.  of  her.)  Are 
you  angry? 

ANNABELLE.     (Slight  shake  of  head)     No. 

RAWSON.    Are  you  sorry? 

ANNABELLE.     (Same  bus.) 

RAWSON.    Don't  you  want  me  to  go? 

ANNABELLE.     (Same  bus.,  only  exaggerated.) 

RAWSON.     Then  why  are  you  crying? 

ANNABELLE.     I'm  so  happy!     (Wipes  her  eyes.) 

RAWSON.    Do  you  mean  it  ? 

ANNABELLE.  Yes — you  see,  having  a  husband 
somewhere  made  me  lead  a  very  lonely  life — for  I 
felt  that  though  he  owed  it  to  me  to  take  care  of 
me — I  owed  it  to  him  to  be  lonely,  and  I  expected 
to  be  lonely  all  my  life.  And  now  to  find  that  in 
stead  of  being  somewhere  he's  here — and  I'm  mar 
ried  to  the  right  man— it's  too  much!  ( RAWSON 
picks  up  ANNABELLE  in  his  arms.)  What  are  you 
doing  ? 

RAWSON.    I'm  taking  you  away. 

AN  N  ABELLE.    Where  ? 

RAWSON.    Back  to  our  cave.     (Exits  L.2.) 

CURTAIN 


The  Return  of  Hi  Jinks 

A  comedy  in  four  acts,  by  Marion  Short,  author  of  "The  Varsity 
Coach,  "The  Touch-Down,"  etc.  6  males,  8  females.  Costumes 
modern.  One  interior  scene. 

This  comedy  is  founded  upon  and  elaborated  from  a  farce  comedy 
in  two  acts  written  by  J.  H.  Horta,  and  originally  produced  at  Tuft's 
College. 

Hiram  Poynter  Jinks,  a  Junior  in  Hoosic  College  (Willie  Collier 
type),  and  a  young  moving  picture  actress  (Mary  Pickford  type),  are 
the  leading  characters  in  this  lively,  modern  farce. 

Thomas  Hodge,  a  Senior,  envious  of  the  popularity  of  Jinks,  wishes 
to  think  up  a  scheme  to  throw  ridicule  upon  him  during  a  visit  of 
the  Hoosic  Glee  Club  to  Jinks's  home  town.  Jinks  has  obligingly  acted 
as  a  one-day  substitute  in  a  moving  picture  play,  in  which  there  is  a 
fire  scene,  and  this  gives  Hodge  his  cue.  He  sends  what  seems  to 
be  a  bona  fide  account  of  Jink's  heroism  at  a  Hoosic  fire  to  Jink's 
home  paper.  Instead  of  repudiating  his  laurels  as  expected,  Jinks 
decides  to  take  a  flyer  in  fame,  confirms  the  fake  story,  confesses  to 
being  a  hero  and  is  adoredi  by  all  the  girls,  to  the  chagrin  and  dis 
comfiture  of  Hodge.  Of  course,  the  truth  comes  out  at  last,  but 
Jinks  is  not  hurt  thereby,  and  his  romance  with  Mimi  Mayflower 
comes  to  a  successful  termination. 

This  is  a  great  comedy  for  amateurs.  It  is  full  ef  funny  situations 
and  is  sure  to  please.  Price,  30  Cents. 


J 


une 

A  most  successful  comedy-drama  in  four  acts,  by  Marie  Doran, 
author  of  "The  New  Co-Ed,"  "Tempest  and  Sunshine,"  "Dorothy's 
Neighbors,"  etc.  4  males,  8  females.  One  interior  scene.  Costumes 
modern.  Plays  2^  hours. 

This  play  has  a  very  interesting  group  of  young  people.  Tune  is 
an  appealing  little  figure,  an  orphan  living  with  her  aunt.  There  are 
a  number  of  delightful,  life-like  characters:  the  sorely  tried  likeable 
Mrs.  Hopkins,  the  amusing,  haughty  Miss  Banks  of  the  glove  depart 
ment,  the  lively  Tilly  and  Milly,  who  work  in  the  store,  and  ambitious 
Snoozer;  Mrs.  Hopkins's  only  son,  who  aspires  to  be  President  of  the 
United  States,  but  finds  bis  real  sphere  is  running  the  local  trolley 
car.  The  play  is  simplicity  itself  in  the  telling  of  an  every-day  story, 
and  the  scenic  requirements  call  for  only  one  set,  a  room  in  the 
boarding  house  of  Mrs.  Hopkins,  while  an  opportunity  is  afforded  to 
introduce  any  number  of  extra  characters.  Musical  numbers  may  be 
introduced,  if  desired.  Price,  30  Cents. 

Tempest  and  Sunshine 

A  comedy  drama  in  four  acts,  by  Marie  Doran.  5  males  and  3 
females.  One  exterior  and  three  interior  scenes.  Plays  about  2  hours. 

Every  school  girl  ha^  revelled  in  the  sweet  simplicity  and  gentle 
ness  of  the  characters  interwoven  in  the  charms  that  Mary  J.  Holmes 
commands  in  her  story  of  "Tempest  and  Sunshine."  We  can  strongly 
recommend  this  play  as  one  of  the  best  plays  for  high  school  pro 
duction  published  in  recent  years.  Price,  30  Cents. 

(The  Above  Are  Subject  to  Royalty  When  Produced) 
SAMUEL  FRENCH,  28-30  West  38th  Street,  New  York  City 

New  and  Explicit  Descriptive  C&talogae  Mailed  Free   ei  Request 


The  Touch-Down 

A  comedy  in  four  acts,  by  Marion  Short.  8  males,  6  females,  but 
any  number  of  characters  can  be  introduced  in  the  ensembles.  Cos 
tumes  modern.  One  interior  scene  throughout  the  play.  Time,  2^4 
hours. 

This  play,  written  for  the  use  of  clever  amateurs,  is  the  story  of 
life  in  Siddell,  a  Pennsylvania  co-educational  college.  It  deals  with 
the  vicissitudes  and  final  triumph  of  the  Siddell  Football  Eleven,  and 
the  humorous  and  dramatic  incidents  connected  therewith. 

"The  Touch-Down"  has  the  true  varsity  atmosphere,  college  songs 
are  sung,  and  the  piece  is  lively  and  entertaining  throughout.  High 
schools  will  make  no  mistake  in  producing  this  play.  We  strongly 
recommend  it  as  a  high-class  and  well-written  comedy. 

Price,  30  Cents, 

Hurry,  Hurry,  Hurry 

A  comedy  in  three  acts,  by  LeRoy  Arnold.  5  males,  4  females. 
One  interior  scene.  Costumes  modern.  Plays  2J4  hours. 

The  story  is  based  on  the  will  of  an  eccentric  aunt.  It  si  ,  elates 
that  her  pretty  niece  must  be  affianced  before  she  is  twenty-one,  and 
married  to  her  fiance  within  a  year,  if  she  is  to  get  her  spinster 
relative's  million.  Father  has  nice  notions  of  honor  and  fails  to  tell 
daughter  about  the  will,  so  that  she  maj-  make  her  choice  untram- 
meled  by  any  other  consideration  than  that  of  true  love.  The  action 
all  takes  place  in  the  evening  the  midnight  of  which  will  see  her 
reach  twenty-one.  Time  is  therefore  short,  and  it  is  hurry,  hurry, 
hurry,  if  she  is  to  become  engaged  and  thus  save  her  father  from 
impending  bankruptcy. 

The  situations  are  intrinsically  funny  and  the  dialogue  is  sprightly. 
The  characters  are  natural  and  unaffected  and  the  action  moves  with 
a  snap  such  as  should  be  expected  from  its  title.  Price,  30  Cents. 

The  Varsity  Coach 

A  three-act  play  of  college  life,  by  Marion  Short,  specially  adapted 
to  performance  by  amateurs  or  high  school  students.  5  males  6 
females,  but  any  number  of  boys  and  girls  may  be  introduced  in  the 
action  of  the  play.  Two  settings  necessary,  a  college  boy's  room  and 
the  university  campus.  Time,  about  2  hours. 

Like  many  another  college  boy,  "Bob"  Selby,  an  all-round  popular 
college  man,  becomes  possessed  of  the  idea  that  athletic  prowess  is 
more  to  be  desired  than  scholarship.  He  is  surprised  in  the  midst  of 
a  "spread"  in  his  room  in  Regatta  week  by  a  visit  from  his  aunt 
who  is  putting  him  through  college.  A'jnt  Serena,  "a  lady  of  the  old 
school  and  the  dearest  little  woman  in  the  whole  world,"  has  hastened 
to  make  this  visit  to  her  adored  nephew  under  the  mistaken  impression 
that  he  is  about  to  receive  the  Fellowes  prize  for  scholarship.  Her 
grief  and  chagrin  when  she  learns  that  instead  of  the  prize  Robert 
has  received  "a  pink  card,"  which  is  equivalent  to  suspension  for  poor 
scholarship,  gives  a  touch  of  pathos  to  an  otherwise  jolly  comedy  of 
college  life.  How  the  repentant  Robert  more  than  redeems  himself, 
carries  off  honors  at  the  last,  and  in  the  end  wins  Ruth,  the  faithful 
little  sweetheart  of  the  "Prom"  and  the  classroom,  makes  a  story  of 
dramatic  interest  and  brings  out  very  clearly  certain  phases  of  modern 
college  life.  There  are  several  opportunities  for  the  introduction  of 
college  songs  and  "stunts."  Price,  30  Cents. 

(The  Above  Are  Subject  to  Royalty  When  Produced) 
SAMUEL  FRENCH,  28-30  West  38th  Street,  New  York  City 

Niw  and  Explicit  Descriptive  Catalogue  Mailed  Fret  OR  Request 


ye  3i74! 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 


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$4ft?oW°             u-^gSS™.. 

FRENCH'S 

Standard  Library  Edition 

Includes  Plays  by 


Clyde  Fitch 

William  Gillette 

Augustus  Thomas 

George  Broadhurst 

Edward  E.  Kidder 

Percy  Mac  Kay  e 

Sir  Arthur  Conan  Doyle 

Louis  N.  Parker 

R.  C.  Carton 

Alfred  Sutro 

Richard  Harding  Davis 

Sir  Arthur  W.  Pinero 

Anthony  Hope 

Oscar  Wilde 

Haddon  Chambers 

Jerome  K.  Jerome 

Cosmo  Gordon  Lennox 

H.  V.  Esmond 

Mark  Swan 

Grace  L.  Fumiss 

Marguerite  Merrington 

Hermann  Sudermann 

Rida  Johnson  Young 

Arthur  Law 

Rachel  Crothers 

Martha  Morton 

H.  A.  Du  Souchet 

W.  W.  Jacobs 

Madeleine    Lucette    Ryley 


Booth  Tarkington 
gj.  Hartley  Manners 
*J  .mes  Forbes 
James  Montgomery 
Wm.  C.  de  Mille 
Roi  Cooper  Megrue 
Edward  E.  Rose 
Israel  Zangwill 
Henry  Bernstein 
Harold  Brighouse 
Channing  Pollock 
Harry  Durant 
Winchell  Smith 
Margaret  Mayo 
Edward  Peple 
A.  E.  W.  Mason 
Charles  Klein 
Henry  Arthur  Jones 
A.  E.  Thomas 
Fred,  Ballard 
Cyri?   "larcourt 
Carlisle  Moore 
Ernest  Denny 
Laurence  Housman 
Harry  James  Smith 
Edgar  Selwyn 
Augustin  McHugh 
Robert  Honsuni 
Charles  Kenyon 
C.  M.  B.  McLeJlan 


French's  International  Copyrighted  Edition  con 
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famous  American  and  English  Authors. 
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SAMUEL    FRENCH 

Oldest  Play  Pi    iteber  in  the  World 
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